Professional Documents
Culture Documents
of World Architecture
Christian Norberg-Schulz
Baroque Architecture
Electa/t^z/o/./
"'
- t
'
Christian Norberg-Schulz
Baroque Architecture
Electa/%zzo/./
SAUSALITO PUBLIC LIBRARY
Norberg-Schulz, Christian.
Baroque architecture.
Bibliography:
p.
Includes index.
1.
Architecture, Baroque.
I.
Title.
Copyright 1979 by
No
may be reproduced
in
in writing
This volume
is
Printed in Italy
any
by
TABLE OF CONTENTS
Chapter
One
Chapter
Two
THE CITY
19
Chapter Three
THE CHURCH
62
Chapter Four
THE PALACE
144
Chapter Five
174
NOTES
205
SELECTED BIBLIOGRAPHY
213
INDEX
215
LIST
OF PHOTOGRAPHIC CREDITS
223
In the present
its
limited
com-
number
of pages.
one of
man
's
way
and its
last
As
buildings
and building
and most
is
to
thank those
"
of
part.
Hans
Sedlmayr, Prof. Paolo Portoghesi, Prof. 'Werner Hager, Prof. Rudolf Witt-
kower, Prof. Staale Sinding-Larsen, Prof. Giulio Carlo Argan and Prof. Fer-
dinand Schuster.
He also
biographical
are
due
to Mrs.
Ch.N.-S.
Chapter
One
Its
Buildings
"Rend Thou the veil, my Lord! Breakdown that wall/ whose thickness de/ of Thy sun, which the world sees not."
Towards the end of the sixteenth century, the attitude changed. The
case of Descartes is particularly illuminating. Having found that every-
The seventeenth century was characterized by a diversity unknown before. The unified and hierarchically ordered cosmos of the Middle Ages had
disintegrated during the Renaissance, and a new element of choice had
been introduced into the life of man. "In the religious system of the Middle
Ages
its
as
it
value,
which
from the
it is
the rise of
to the fore,
its
There
is
no room here
doubt and
for
in
all
it
think-
is
order which
First Cause.
ing there
With
is
its
was assigned
and
free will
came
same
for all."
as far as to
all
Even
lot.
The
political life,
which found
its
freedom of choice,
his
as expressed in the
man
as a creature of
"He
famous
therefore took
middle of the world, addressed him thus: 'Neither a fixed abode nor a
form that
thee,
is
Adam,
we given
to thy
judgement thou mayest have and possess what abode, what form, and
shalt desire...
life,
Thou
shalt
shalt
place that
exist,
was
in,
but that
have
that
ly
existed..."
On
all
it
did not
thought of doubt-
fact that
it
that
him
"The
great originality of
Mon-
itself
and
in that
man
Rather
this originality.
the
less,
mean
The new
state of affairs
part of Central
does not
may be
first half
a great
tury, therefore,
this
man
and
it
offered
man
economic or
we have found
it
all
Roman Church,
in
one
the power, out of thy soul's judgement, to be reborn into the higher forms,
solute truth of the Biblical word, in the great philosophical systems of Des-
cartes,
The
political
foundation of Floren-
ratified the
century the
man
new
diversity
was experienced
manifestation in the
it
comes
ine right."
The
in the absolute
new
it
pluralism,
we may
monarchy "by
evoke
div-
represented different
we
neither
"stylistic similarities."
prevails in spite of
the differences of choice, the esprit de systeme, to use the term of D' Alembert.'
sibilities for
structuring his
was limited by
his
own life,
immediate
all
the alternatives
map
Paris,
from
of
740.
(1685).
tems were
tion
was
in a certain sense
and
essential,
sys-
The religious,
scientific,
The systems
political centers
had no
itself,
were
foci of radiat-
spatial limits.
character. Departing
tended. This
economic and
new
from
dynamic
be infinitely ex-
and
may be
in
He
are
found
in the
is
In this
we
later; also in
the
all
is
the appropriate
Whereas the geometrically ordered unithe Renaissance was closed and static, Baroque thought makes it
verse of
The need
meaningful
to-
up an ever
larger
and research for the traditional idea of harmony and degrees of perfection).
specialization of
forced to define
its
the split of that unity of art and science which had formed the basis for the
uomo
The
artist
no longer dared to be
a phi-
of
its
we want to understand
we must infer them from the
much
fact, if
ideal of "universal
To
a certain extent,
he
2.
Rome, plan
of Sixtus
(reconstruction by Giedion).
3. Versailles, aerial
Socially the
Virtually
form of
still
life visible
the systems to
own
place within
it.
to the
making
their alternatives
Most
of
Paris
France.
And
we
if
fests a
te
that his
That
to say
Leaving
"
for action."
religion
is
became more
which were
in
ticular
Ig-
life.
first
recognize
is,
is
a geometrically
when we remember
ordered extension as
embodying the
a place
life
easy to understand
basic
teries of
this: that,
the people are instructed and confirmed in the habit of remembering, and
continually revolving in
mind the
The
and
make
fetes to
articles of faith..."
its
goal.
in fact,
may
Such
ticular role.
which
is
a participation,
educated by means of
more
meaning," that
we
on similar patterns.
to give par-
ulty
its
is
de-
is
larger context,
In fact, there
effective.
still
his
was alone
uses a
principle
its
at
ideally,
make
from 1740 we find that the whole landscape has been transformed into
network of centralized systems which,
closed.
view.
Its
art.
The
a fac-
to the
The
systems never extend beyond clearly defined limits, and the elements
main isolated
in the landscape.
The elements
re-
pronounced individuality.
interior
Baroque
to
'
charac-
of situations, real and surreal, rather than on "history" and absolute form.
illiterate.
was to
art of the
instigate a
became
official
way
of
life in
The
general aim
Baroque
in the academies.
art
brought forth
''
At the same
"phenomeni-
of his
own
exist-
religious,
The basic
Peretti, Cardinal
disintegration.
fact,
To
form of
life
of the
Baroque
10
we
as well
take a look at a
map
of Paris
and environs
was thus
dominant
1586 the
human
as the
end therefore
its
It is
Rome
point" was marked by a work on the urbanistic level. In 1585 Pope Sixtus
ence. Baroque participation, which should have secured the system, in the
led to
first
great
new
street,
at
once, and in
Sistina),
was com-
The principal aim of the plan was to connect the main religious foci
of the city by means of wide, straight streets. Fontana writes: "Our lord,
now wishing to ease the way for those who, prompted by devotion or
pleted.
visit
SCBOCE
IN
CERUSALEMME
Rome, and
in particular the
dulgences and
in
many
relics,
places.
whatever place
line to the
in
foot,
by horse, or
in-
straight streets
in carriage, start
from
11
Sixtus
the fragments of regular Renaissance planning carried out by his predecessors, in particular the trident of Piazza del Popolo,
where three
streets
The new
tricts.""
streets
planned by Sixtus
dis-
wall. In
isolated "nodes" of
the past were united to form a network, whereby the role of the individual
element
The City
The plan
of Sixtus
made Rome
Rome's
its
PIANO
Dl
PROGETTO
This
is
city.
is
thus the
first
also
The development
a "visi-
ble"
Whereas the
tively static
cities of the
capital city
rela-
whole world,
in a
is
basi-
mere
it
it
satellites
having no
real life
of their own.
work
first
"territorial"
through
in
needed
wide
First,
most
cities still
countryside, and second, the existing inner structure hardly allowed for
What we
Rome
and
Paris.
is
The shortcomings
resulting
main
11
"
4.
new
XIV
new
city
Argan
The
to build a
more than
is
foci of the
terms, that
is
urban
totality
as piazze or squares.
The dynamic and "open" character of the capital city is also expressed
in its inner structure. The wide and straight streets allowed for an intensified movement of people and vehicles, in accordance with the new
need for "participation." They also made the Baroque desire for systematization manifest. Already in 1574, Pope Gregory XIII gave new
rules for the erection of buildings in Rome, thereby preparing for the great
plan of his successor. The rules stipulated that the houses should be joined
together and that the open spaces between buildings should be closed by
1
lic
and
is
is
came imperative
it is
towns, and are usually so badly proportioned in comparison with those orderly towns
on some
at will
much
dividuality and
space
tive
The
its
particular
meaning and
dome
becomes part of
totality.
new importance as
The plan of
a superior system.
Sixtus V, in fact,
The Baroque
is
is
plan of
plan organizes
usually dominant.
plastic in-
As
movement, they
transformed into
to
all
sky.""
Baroque
The
a functional
creation of
particular shape,
its
it,
container covered
streets.
The
achieved.
its
royale,
the sovereign.
.
.
is
a statue of
space on both sides wanted to symbolize the "open and embracing arms"
of the Church. Because of
French place
become
is
it
blank walls." Evidently the aim was to unify the cityscape, forming co-
its
and
its
An
movements
de-
analogous interaction
is
also established
between the
city
In fact, the buildings of a district had to submit to a program which established the general character of the design.
was created
at
all
in
the same
27
tension of the city, so that the symbolism of the Church became an organic
tana were conscious of this basic spatial problem, and used Egyptian obelisks
Roman
ruins to
21
of their system.
In other cases buildings were used for the same purpose; the
tall
domes of
the churches were particularly suited for terminating the horizontal ex-
is
thus just as
we may
it
much
monument constitutes
12
is
palace, manifestfirst
consider the
belongs.
from) monumental buildings which represent the basic values of the system. "The
manner..."
The Church
The
role of the
and sixteenth centuries. Thus Alberti says: "In the whole compass of the Art of Building, there is nothing in which we ought to employ
more Thought, Care and Diligence than in the laying out and adorning of a
fifteenth
Temple
well built
and handsomely
5.
II
6.
II
Giacomo da
Vignola,
Rome,
Giacomo
della Porta,
Rome,
Gesu, facade.
adorned
is
Ornament
And
hills,
them
is
to
can have;
a City
Palladio adds:
is
it is
more-
the city
"...if in
be raised,
as
venient, above the rest of the city.""' During the same period,
the theorists
recommend
and the regular polygons are the "perfect" forms.' But the centralized
plan was not well suited to meet liturgical demands, though
time
signified a departure
it
at
the same
basilica.'
Andrea
in
Mantua, on
and when
were accepted
in smaller buildings
function or dedication
a particular
a
is
made
it
a natural
solution.
20
first
attempts
at
an
in-
80
rally
Serlio.'
made
it
func-
wish to strengthen
tradi-
and to abolish the "pagan" forms of the Renaissance. Thus St. Charles
Borromeo writes: "A church should, in accordance with tradition, be of
tion
cross plan;
When
pagan
idols
and seldom
"'
II
its
vertical axis
new
two
II
Gesu thereby
gives a
The
Order used
many
is
movement
it
many
model. Later
are based
local variants.
as a general
'
II
on
13
due attention.
First,
it
demonstrates
gration of the longitudinal and centralized schemes, and second, the de-
make the church become part of a larger whole, that is, urban
The articulation of the facade as well as the interior must be interpreted as a function of these general aims. Today II Gesu has a richly decorated Baroque interior. As planned by Vignola it was simpler, but it still
who
a great
sire to
space.
The
is
show centralized
solutions. It
is
marked by
dome
smaller churches usually contain a longitudinal axis. Both types are thus
in
size
its
dogmas
are demonstrated.
is
a focus or a
Baroque
centrali-
in
content
and form. The two basic types of Baroque sacred architecture may be
ed: the centralized longitudinal church
We
call-
must repeat that the choice between the two alternatives depended
came
in question.
By introducing
this distinction,
in a
it
be-
meaningful
way.
In Baroque churches, space gains a
new
is
villa
In
tury.
villa
"
due attention to
all
Prospects; in
Night."
44
Town, there
re-
"The
great innovation
architecture but
The
is
critical spatial
between the
spatial
elements of
But he
"There
is
Town... Such
tired either
And
Town
villa
The
ture obtains
developed
its first
Roman
Pietro da Cortona.
14
strong
40
momentum
Baroque, that
is
are
drawn
of the Country-House,
latter
should be
4
"
made
It is
latter
was considered
a fixed type
more
easily preserve
its
villa
less pos-
The development
is
book and
a place
city, will
is
be greatly
In this context
meant
a loss of
re-
talks
where "the
city.
city-palace,
with
of variation.
more
or Country."
building task
life
body
relatively simple
in
suburban
with the
two ways of
complex architectural organism. In the church, the problems are particularly evident and may lead to strong and consequent solutions, as the
is
Alberti
garden.
"country-dwellings."
it
of
with
as city-palaces
both required...
One may,
life.
may be traced back to the fifteenth cenRenaissance Tuscany, we find, besides the older city-palace, the
be understood in
way, as
The
his "place" in a
It
and
are
to nature,
the
and the
man
city-palace gives
made up
is
We
suburbana).
constitutive importance. In
The
him
all
city-palace
closely:
chateau).
(villa
world of the dwelling, the public world of the city and the natural world of
ed from the traditional basilical scheme, while the smaller ones and the
chapels
(villa,
Charles Borromeo.
The development
The Palace
Two
we have
re-
seat, the
I,
'crsailles,
perspective view.
..
'.;_
II.
Rome, Fountain
of the
Four
Rivers, detail.
7.
Ciacomo da
interior.
Vignola, II Gesii,
S.-0&
15
castle,
This development
is
new type of
aristocratic
member
mentary country-house
The two
tations above.
is
seat of a
Church (Rome)
The need
or an
for a comple-
Luxembourg
a city-palace.
suburbana
villa
problem found
is,
basically similar,
in-
Rome and
the Palais du
was
family seat.
It
represented a "house" in
its size
and
articulation,
def-
it
ined the position of the family in a wider civic context, and gave the
city as a
whole
new and
With
the rise of a
new bourgeois
The
less
this
mean
"Between
House
in
was
It
villa.
The
we
some
for a
for that in
Country, there
Town
is [the]...
ought to be much
is
villa,
and
It
thereby
a synthesis
as-
was
Articulation
The
is
another Differ-
this relationship is
not
merely derived from the spatial properties of the two realms, but from the
articulation of their point of contact, that
is,
all
the wall.
In the buildings of
ventional meaning.
connection.
had
The classical
to the
classical
The
just as
rive at the
infinite
al-
number of words
ar-
six
shall
this
late as
We
importance in
in fact, architecture
phabet of architecture:
works of
Vitruvian basis.
employing
As
Up
art are
letters, so,
The French
Ornaments,
environment which
most natural.
kinds of orders..."^'
in the
civic
sociated
House
Town and
pression of the
solution in gar-
its
in Paris,
and
still
in
plete sacrifice of
all
that
is
ence between them, which is that in Town you are obliged to moderate your-
born."
still
in imperial
valid in sixteenth-
Vienna
and seventeenth-century
at
10
We
thus
Cinquecento,
at
in the suburbs
tect
and
his
The wish
The
become less
among
choice
will
be
the orders.
tains,
seem
to
Nymphs;
have
details suited to
on account of
slighter proportions
and volutes
will
seem
in the
Corinthian
To Juno, Diana
cause the determinate character of their temples will avoid the severe man-
its
surroundings, whereas
16
as concreti-
typified, as illustrated
later Garten-palaste of
city-palace tended to
human
and Father Bacchus, and the other gods who are of the same likeness, if
Ionic temples are erected, account will be taken of their middle quality be-
became
later.
We will
may be considered
style will
villas.
the villa
We
zations of basic
Forssman has
8.
9.
(left)
palaces.
Letarouilly).
10.
Rome,
Letarouilly).
shown
/|\
\>s
Our
Saviour,
we
we have
had, whose
/\
it is
,
'
It
/\
/\
was assigned
man
to rustication.
all
basic characters, as
or-
nature
as a dialectical
hu-
itself,
as
opposite to the
calls rustication
The
In Re-
in-
troduced, whereby the "lighter" orders rested on the more "heavy," and
the whole system on a rusticated basement. In certain works of the
nerist period a
fundamental doubt
in this
humanist expression
Massimo (1532-36)
lets the
Man-
arises. Per-
order carry a
down." In Ba-
roque architecture, we again find the orders placed over a rusticated basereplaced by a giant order which inte-
ment, but
in general superposition
grates the
whole wall and gives the building one dominant character. Add-
is
"classical" archi-
is
at
its
later
canons.
new
And
still
The
ten-
inventions of
more
cally
classi-
finally,
Conclusion
In this general introductory chapter,
c^r
form of
life
of the Baroque
any
human
and relations
life
have
spatial consequences. In
to places.
Heidegger
says:
"The
it
implies
movements
17
proper to
is
61
it."
61
The
"places," "paths"
ties,
may be analyzed
foci of
in
and
terms of
man's
activi-
ment, and the domains are qualitatively defined areas which are more or
less well
levels.
sider,
and
ment.
It
it is
we should
Finally
basically
is
urban context.
relation
a place
and
its
in-
teraction.
lation
is
is
environment.
as
On
all levels,
we have
the reis,
the
The
this general
whenever
grates
it
is
is
fit
within
thus opened up
radiating
nally,
as
many
fi-
parts of
extended paths of
open, and contained elements which have been of basic importance to our
present world. Before
we
we
components
of
Baroque architecture.
city,
We
and afterwards
will start
treat its
main
foci,
11. Philibert
de I'Orme, Chateau
18
the
Chapter
Two
THE CITY
Introduction
The
eral intentions
is
It
program
started in
by Sixtus
initiated
ond
capital city of
completely
was
foci.
new urban
structure
during the seventeenth century. In Paris the point of departure did not
in the
and
new
Roman
basilicas,
first
it
is
is
found in
Piedmont
to
form
a singu-
urban synthesis, which was facilitated by the regular plan of old Turin
having a
Roman
centrum as
its
origin. In Central
The more
in
in France.
Charleville
to the character of
original of
all
Most
He
We cannot
in this
Rome,
Paris
earthquake
townscape of pronounced
cases:
initiated.
to transform the
Colosseum into
we
ideas
as
fact, his
an
aspect of his desire for systematization, a desire which his followers were
streets
on with more
lation to the
and
in
most gentle
The plan
flat
of Sixtus
active contact
cross-
reduced
funda-
It
between
particularly
example,
interesting
its
en-
we may mention
city to the
which they
mental innovation.
more
and the
re-
"Now at
spirit of so great a
them
network of
Giacomo
however, have
V was
is
vironment. As
The
in
typical of
1693.
fall
fountains (1589).
just-
tus built a
St.
how some of these obelisks and columns have induced the de-
to carry
century, however,
points out
at
One
fire in
foci,
lie
ly
all
full
of ten-
around three sides of the square. As the fourth side was narrower, giving
and Turin.
Rome
We
tern in the pavement. This oval probably represents the caput mundi,
to this
plan of
cipal focus,
resulting
network
foci,
is
Giovanni
in
Laterano and
is
S.
Paolo fuori
le
as
the trident leading into the city from the Porta del
S.
roads were marked by obelisks which not only introduce a vertical accent,
but serve as "axes" for the change of direction of the streets. Sixtus
incorporated the
Roman columns
of Trajan and
Marcus Aurelius
also
in his
to
first
made
it
all,
sig-
vis-
The central axis of the Palazzo dei Conservatori was given importance by means of a large window, so
that the uniform enclosure of the space became still smaller. Finally
ually separated
lateral palaces.
19
Rome,
Michelangelo,
project
by Duperac).
he turned the statues on the balustrade to face the city rather than the en-
ence.
trance ramp. All in all, Delia Porta transformed theenclosed space of Michel-
transition
The
where
Still
earlier,
ing axis
a transition
The columns
in front.
of
the porticoes continue along the lateral walls of the churches which are
The porticoes
The churches
whole.
thus
monumental
of houses behind, and in fact, to the whole city. At the same time, the por-
form
We have
side
up the
ings
roque Rome. The Piazza del Popolo actually represents the prototype of
years before the planning of the twin churches, Bernini rebuilt the city-
cities
either concentrate
of the Piazza del
where the
hills
and the
hills
city-gate
is
placed
extended surface of
the city- Until the time of Sixtus V, the Piazza del Popolo was simply the
starting point of the three streets, but the obelisk put
become
tury
it
a true
up
in
1589 made
it
Baroque piazza.
On March
laid.
The two
chur-
ches are symmetrically placed on the two building sites formed between
monumental entrance to
the main gate." The visitor
who enters
its
domed churches
gate to
mark the
arrival of
Queen
Christina of
Sweden
few
(1655). Bernini
a transformation
which introduced
The
sides.
1816
a transverse
square with the slope of the Pincio on one side and the Tiber on the other.
Valadier also marked the four corners of the
new space
than forming a node between Via Flaminia and the three radiating roads,
the piazza has
become
a large
fact,
moment one
is
The well-known
where
veduta by Piranesi
(c.
it
1750) depicts
how
the Piazza del Popolo was experienced before the intervention of Vala-
introduced to the treasures hidden in the famous city," as Titi wrote in his
dier
the dominant quality, and the obelisk acting as a necessary point of refer-
in-
The churches
Among
14
more detailed
as
as
discussion.
role. Its
Rome,
Navona plays
Piazza
in advance;
it
was
in fact
a particular
determined
dear to the Baroque Age, and what could be more appropriate to the Holy
but the space remained free and became the stage for popular games. Pope
seemingly insuperable
dif-
Sixtus
IV (1471-84) made the square a market-place for the nearby Reits complex history, Piazza Navona forms
of Baroque Rome. Pope Innocent X (1644-50), whose palace faced
land between the Via di Ripetta and the Corso remained wider than that
a part
bordering the Via del Babuino. In other words, the two churches would
have received domes with a different diameter and would have appeared
cause of
ment, although
genious way.
problem
in
an
in-
its
it
it
managed
to
dominate
its
environ-
the city-gate the churches appear similar, in spite of their actual differ-
net,
20
built
life.
in
S 1 -A'lW
24.
Giovanni
Battista Piranesi,
21
1 7.
Giovanni Battista
Piranesi,
(engraving).
Rome,
Piazza Navona,
Agnese in
S.
What
then are the architectural qualities which give Piazza Navona this
is
experience
it
as a continuation of the
time, however,
than
surrounding
way
limited in such a
it is
that
it
may be
streets.
becomes
charac-
which makes us
At the same
a "place" rather
wall runs
all
and appear
scale
square are thus quite narrow and irregularly placed. Wide, symmetrically
down the character of enThe continuity is enhanced by a common scale of colors, and by
the employment of related architectural details. The simpler houses as well
guage."
The church
serves as a
much
classical elements;
it
main
of
its
focus. If
value, not so
its
boundary, which
is
lives in
it
continuous
'
facade of
S.
Agnese.
come engaged
in
first,
large
&
'
mi*
HFrat
fe'i
in the totality,
dome of
in the
dome above
Agnese
is
the only
An
an important role
S.
human dimensions,
at
the space and exclude the possibility of experiencing horror vacui. Bernini's large
real
focus of the piazza."" Its obelisk marks a vertical axis which limits and centralizes the horizontal
ei-"*V
~f
movement of the space, at the same time as its alnew dimension of content, symbolizing the
to
all
one of the most convincing answers to the Baroque desire for a synthesis of
the two traditional opposites: opera di natura and opera di mano.
t-t~(
22
its
The
in-
IV.
Pietro.
19.
S.
Agnese
in
Agone, plan.
20.
S.
Agnese
in
Agone, reconstruction
21.
S.
Four Rivers,
Rome,
detail.
25
Rome,
Roma
P. Portoghesi,
Barocca).
Rome,
dome
its
consummation
and crowning
The
general effect
is
somewhat weakened by the two campanili which were built much higher
than planned by Borromini.
In general, Piazza Navona represents the typical space of Roman Baroque architecture, a space that
makes us understand
eminently dynamic,
is
to
and varied.
vital
It
a city
in human
Domenico Fontana are
of
inte-
we
But
it is
S.
which
is its
direct op-
a tiny
is
it is
The
is
connection with the Piazza del Popolo and Piazza Navona, but here
basic
Baroque problem
1656 the
Roman
is
one
distin-
this
at
the
who had
to
bifurcation of
two narrow
to the old
streets.
da Cortona,
to Pietro
The only
possible solution
at
was the
the
cre-
and
also
how he
piazza a delimitation which causes the church to protrude far into the
space. This solution gives. the visitor the feeling of being within the church
as
space, at the
hind.
same time
as
it
also forms
is
in the
middle of the
and parapet of
stories
and
low
on behind the
continuous surface
attic.
The cornice
lateral
wings of the
which "belong"
is
by
pilasters that
26
all
is
form
simpler
Piazza
Rome,
Piazza
plan.
S. Pietro,
Rome,
S. Pietro,
is
related to Borromini's
facade for S. Agnese, but whereas Borromini bent the facade inwards to
make
the
dome
active, Pietro
is
all
Baroque
handling of the plastic details, as well as light and shadow." The upper
story protrudes convexly to receive the strong sunlight.
It
indicates the
the middle and a strong double pediment transform the whole into a large
II
Andrea
al
in a simplified
form
in Bernini's S.
is
also present.
Gesu during the pontificate of Alexander VII.' A symmecreated by means of lateral projecting porticoes behind
which a piazza appears. The church itself has been separated from the
Jesuit house on its right side by the breaking through of a new street, so
setting for
II
trical access is
that
it
We began by
talking about S.
Maria
della
levels.
is
to
show
which on the other hand give meaning to their environment. Both form
part of the
Baroque space
S.
Maria
della
how
fact,
it
is
is
phenomenized.
Pietro.
What
interests us here
is
carried through under the pontificate of Alexander VII (1655-67). " In the
summer
of 1656, Bernini
made
a first project
showing
trapezoid piazza
with the sides converging on the present Piazza Rusticucci. This barely
satisfactory idea
is
whose
site,
own
er of nearly
all
as if stretching
them
retta,
St. Peter's,
firm
to a circular plan.
first
of
all it
the others,
out
its
it
them
as to con-
to the Church,
and
21
ii
"m s~ *
Piazza
30.
Rome,
S. Pietro.
Rome, Piazza
S. Pietro.
31. Carlo
Mademo, Rome,
St. Peter's,
32.
detail of facade.
Rome, Piazza
S. Pietro,
detail
of colonnade.
infidels, to enlighten
them
terzo braccio
to
S.
'
were never
built, the
As the
originally
planned campanili
is
ler."'
This effect
'
is
and correspondingly
tal-
is
is
The
at
The
verse oval of the piazza obliqua, finally, brings the church relatively closer
to the beholder. Bernini's final design for the front, with campanili sepa-
The
real
"tricks" of perspective.
est squares ever
obliqua
is
may be
What makes
conceived are
these
its
solution.
lie in
The piazza
The space
verse axis. Rather than being a static, finished form, an interaction with
is
created, which
is
also expressed
by the "transparent"
of
all
mankind,"
at
The space
its
message radiates to the entire world." The trapezoid piazza retta also forms
part of this general pattern.
all
The
which leads
to the church.
and reveals
meaning
is
itself
An
a goal
is
movement
finds
dome. Argan
is
its final
motiv-
symbolic
implicit,
both
elliptical
in a plastic
and
is
to constitute the
supreme revelation...""
30
Church
is
is
Vendome.
\'III.
33. Giovanni
Antonio de
Rome, Palazzo
by Speccbi).
Piazza S. Pietro
of
its
is
34. Martino
Rossi,
Altieri {engraving
is
related to
its
environment
shows how
It
in a particular
way,
human
existence.
S. Pietro
is
composed of one
We have discussed
ban elements. In
fact,
a geometrical kind.
found
in
of
art
is
column.
Rome by analyzing its most important urBaroque Rome does not form a systematic totality of
Baroque
The seven
basilicas,
ture for the plan of Sixtus V, are placed in relation to historical events,
Some
of
them
and
its
"system"
lies in
This
is
spatial continuity
in
III
a final remodelling
by Carlo Rainaldi
in
all
the rooms from the old facade to the Ripetta wing to form a long enfilade
The
straight line.
this
still
more convincing. In
fact,
it
pression that the fountain lay across the river. Another example, illustrating a very different kind of adaptation,
(1650-60). "
The long
is
Gesu, and partly faces the piazza in front of the church. Adapting to
II
this
fall
risalto,
complete in
itself.
means of
a total equilibrium.
De
and above
all,
by erecting
inventions.
than enforcing
tribution to
its
ters of the
a great
con-
the mas-
20
30
I
40
c\=n
f\
K=
=%Jr
Paris
concrete form from the very beginning. But there are also similarities
less
in
both cases
to
be
What
period of time
is
Sixtus
did to
civil
won
life,
general rec-
Henry wanted
wwmm
After having
but
I
avarice, for
make war,
as his point of
(i.e.
placed in the center of a space which symbolizes the center of the world.
The
spect different
new
time as
relationship
it
is
in
an important
re-
(civic)
purposes.
may be used
It
therefore concretizes
same
The
place
royale was of decisive importance for the urban development of the fol-
The
terest
la
first
because of
Cite, there
its
construction of a
new bridge
islands.
32
of particular in-
Henry
III
He de
The construction
is
was to
model.
1606.
become
20
40
lm
5 10
part of a
Dauphine
(engraving by Perelle).
36. Paris, Place Dauphine, diagram.
33
(engraving by Perelle).
of a palace.
la Cite,
Where
The bridge
man
scheme, which
axis of the
Dauphine, in
was the
first
fact,
makes the
axis.
the Seine
is
St.
Germain
to the south.
The Place
and
and Porte
side,
urban
its first
all
other capital
cities.
form
to
a triangle.
along the outside, so that together with the main axis, a trident centered
on the statue
ly small
shows
is
a rather uncertain
tall,
steep roofs), rather than an Italian use of masses and plastic members.
There
is
no monument
Henry IV was
lo-
About the same time as the Place Dauphine was planned, Henry IV
8
more typical place royale, the present Place des Vosges.
started another,
This square
is
It is
Everybody had
to adhere to a
is
by divisions
in the roofs
and by
The
tall
chimneys.
la
A certain axial
up
The ground-floor
pilasters thus
lines, rather
than
was imitated
in
many European
a classical
not that of
Further east, between the Bastille and the Temple, Henry IV planned
another great urban development (1610).
"
is
the
first
from
a base-line,
with
new
The
a spatial
expression of the
new
national sys-
tem. Whereas the city-gates to date had taken their names from particular
name,
in
as capital city.
The execution of
the project was started but could not be carried through because of the
34
as a place royale.
(engraving by
Le
Vendome
Pautre).
0&
^ s3
->
ISiS^^T
;>'^3^
"Wil
36
38
Rather
Vcndomc.
it
and, in fact, a hundred years later the whole region of Paris was covered by
its
starlike pattern.
The
created.
activity
ment
have
to
41
all
the
Rue Dauphine,
for several
The
lived
it
angles.
who
"
St.
Building continued
on the
was developed
district of Richelieu
Louis,
reg-
built as a continu-
at
tive part.
were not
facade."
foci
island, took
after
an
ac-
He
St.
omon de
classical
'
who
laid the
XIV
elopment of the
city.
Two more
a decisive
royal squares
gar-
dens of the Tuileries were taken as the point of departure for a great spatial
extension towards the west. Most important, however, was the abolish-
ment of the
fortifications
stituted
spatially
open
city.
Let us
first
consider the
its
district to the
so that Paris
became
squares.
Louis XIV.
new
such
in quite a
as the Place
des Vosges,
it
was designed
to
connect several important directions within the urban texture: the Rue
des Fosses
of Charles V, the
la
new dis-
north of the Tuileries. The circle was the only form which could be
used for this purpose, and the Place des Victoires thus became the proto-
The
The Rue des Fosses
is
St.
with the ring of boulevards as well as the main road leading north
an axis superimposed on the circular pattern.
of the
Hotel de
la Vrilliere
It
is
used
as
(Hotel de Toulouse).
streets
39
plan,
this axis.
is
XIV
45
consists of a rusticated
It
related
system
is
is
A uni-
(1686).
lighter
and
The
solution
less plastic
than
in
square, while the lateral walls along the streets have a simpler articulation.
The
space
is
the surrounding buildings, an idea which goes back to Michelangelo's project for the
is still
parts of the facades were built without houses behind them. Originally a series
royal mint
in
unequal
sides.
made a new,
fa-
plots be-
hind were sold to individual buyers. The Place Vendome, thus, somewhat
repeats the general solution of the Place des Vosges.
space, however,
regular
is
articulation.
closure of the
The
The
stressed
its
is
ment. The wall articulation repeats the general system of the Place des Victoires,
richer.
The
details are
XIV
as a
Roman emperor.
The four
on
common theme.
Basi-
Roman piazze,
'
is
is
cities,
circle
and systematic
Mansart created
at-
also in-
de
Bourgogne (1686).
Whereas the
40
new
48.
Andre Le Notre,
Paris, Ttiileries
(engraving by Perelle).
showing the
first
JXJ
42
ff
**
it
1*1
ilfjfu
43
S.
Carlo
ft
f.:>t
/'..
Jr
TURIN
55.
Amedeo
di Castellamonte,
Via To.
56.
Amedeo
and environs
IsriidtI
I
Y'if U.
i.
,
,i
itlifu
In lrnirui
di Castellamonte,
Rh"
/,.
Noveratt*
46
Rivasccca
Pit
ttt;
7.
was thereby initiated, which expresses the role of Paris as the capital city of
the whole of France. The radiating roads and avenues were linked together
fit
city
without closing
The boulevards of Louis XIV are thirty-six meters wide and consist of
it in.
main thoroughfare
as well as
narrower
lateral streets.
Where
they cross
the radiating roads, triumphal arches were erected, namely purely symbolic city-gates expressing the basic content of the spatial system.
During the reign of Louis XIV, the basic structure of Paris was defined.
Its
Bif'T
systematic character
W ^r^
..I.,-,-
is
programmed
districts.
plan-
ned
in relation to this
Urn* a*
which define
the urban spaces and their continuations such as the characteristic cours
Roman
Baroque.
Its
emphasis on the
sys-
We
:&m
l?Lv'Vi.
r
still
may, however,
is
Rome
is
"secular" counterpart.
its
Turin
The
capital city of
and, in fact,
capital of the
was
still a
Piedmont
history
its
is
is
situated
Paris,
the
small
of the original
by
Roman
his father
it
op-
Emm-
vironment. The ideas behind these innovations stem from garden architecture,
and
reflect a
new
As we
will
show
Reformation.
fore,
and formed
"forces"
of
the
epoch
met,
there-
streets with a
lar aspects.
The
old
ment was mainly the work of a single man: Andre Le Notre (1613- 1700). In
1637, Le Notre was appointed gardener of the Tuileries, and during his
long and incredibly active career he had his home there. The existing gar-
municipal square in the center. Joined to the eastern side of the city-wall,
ter," Vitozzi
shaped spaces. Above all, he opened the area towards the west, creating a
long avenue (the Champs Elysees) which ended in a large round-point (the
town. The idea was dropped, however, for a better adaptation to the ex-
A similar axis leading eastwards from the Porte St. Antoine to Vin-
south and the east was initiated. This development lasted most of the sev-
ly
Etoile).
48
Roman
city-gate,
it
isting
make
IX. Turin, S.
Cappuccini.
we should
its
termined when Vitozzi created the Piazza Castello. This square was
\or\
11
W.I,
ii
n mi u rtJARniNSdtVERSAHl
sur-
ticated arcades
tozzi laid out a
his
as the
main
Nuova (tonew
axis of a
were designed
this street
as a con-
homogeneous system
whole
for the
city.
He
new Ducal
also indicated a
-JOS
Palace at the starting point of the axis, with a courtyard opening on the
Piazza Castello.
^3
by strong
vertical pilasters.
The work
lamonte,
who was
from 1615
a ducal architect
till
his
death
in
1641.
From
He
new secondary
rectangular shape
and
toin-
streets,
mmrtxmm
Compared with
is
one important difference: where the Via Nuova leaves the piazza, two
symmetrical churches mark the corners, a solution somewhat similar to the
twin churches of the Piazza del Popolo in Rome.
thus participates fully, just as
zo Ducale
(later,
it
"
Palazzo Reale),
is
Turin, and together they form a singular focus, where the simple, urbanistically
plastic
dome
form
a rich
he
built the
on the
new Palazzo
a screen-wall
relic of
a tower-like pavilon,
Po
district
pal-
which served
in-
to
new
54
za Carlina. Its east-west axis continues westwards to join the Piazza San
Carlo.
A particular element
in the
new
city extension,
however,
is
a large
49
(seventeenth-century engravin-
61.
62.
gardens, the
50
view
Mil
itti
UML5
51
52
view
(engraving by Perelle).
Its
initiated in
1673 after
a plan
by Amedeo di
fine the most magnificent seventeenth-century street in existence. Towards the Po, the street terminates with an open exedra, which, seen from
same time
as
it
is
at
the
several times
was never directly imitated. The works of Juvarra arose in connection with
the last Baroque extension of Turin (after 1706), this time towards the
west and again on the same pattern, even including a royal square: the
Piazza Savoia.
We
then see
historically, politically
and
religiously
We
The
solution
city,
''
is
but
its fortifi-
cations until the Napoleonic period. Its theoretically open Baroque structure
a ring of bastions.
This structure,
sume
is
certainly
that the
Roman
is
its
glorious past.
The
hierarchical structure
functions as the primary focus, the old city has a secondary focus in the
all
its
related to a
new
The districts
ideal of uniformity
The
solute
as
square.
The piazze
in Paris.
plan of Baroque Turin thus clearly expresses the ideal system of ab-
monarchy, and
its
French character of
"The
must
all
combine
to
make up
a city,
become an
we
5}
65.
Villa
Montalto (contemporary
print).
(ilARDINO DEL
54
rnc
ILL
CARD. MONTALT*
7*.
9V
_n>
Giacomo
-*
s>&
-.-
n.
1
-*"
.......
yr
yj^-
jMi
ImMW
ansa *"i
---
."f-crti.i;
||
'
'
ttfitUum fcntium
rcenj'nniu
u/.-i.a.ijuan."! putau I.) r.
,.
rmfd I* Onniu /Snj
~
-iji.ufu.fi cjuiu." #id atauttm nrr rwmoni
cJid/l
.
J
,.
tnuvui
'
**.., ?,
-.os
i;
'
;--r
'
^MM=*
"'
fdlJ4flim
pnvui,
jcnte.-.
Wf
a
u^
'
I
C"
55
>
.^%h, S
^^K'-V
$
-
.
\-\-
-^0
ife
68.
Giacomo
69.
57
main
axis.
"
-snqnasmr
this secular
churches.
A print
seen from
is
the east, gives an almost medieval impression of densely placed vertical ele-
its
shadow one
beneath, and
its
is
vertical structures
sound of
spire, reaching
up
its bells
all
a protective element; in
it
the symbols of
of
Rome and
also
is
found
He
Monte
to
be typical
Paris respectively.
dei Cappuccini
on
built the
church of
S.
Maria
al
Baroque
Amedeo planned
connec-
tion with the ducal country residence, the Venaria Reale (1660-78).
The main
but on
its
way
placed
domed
it
is
churches.
The
''
two symmetrically
were structured by
domes
of the sanc-
we
to
make Turin
Conclusion
Our
how
namely the
and topo-
tized in different
graphical circumstances.
Some
characteristic
district. In
most
cities of
the period,
and most
typical,
is
Versailles."
We
a smaller scale.
and
its
but
59
view.
The
total
scheme may be
Vau, Le Notre and Jules Hardouin-Mansart. The palace occupies the very
center and
its
long wings divide the area into two halves: the gardens on
latter
is
avenues radiating away from the center, the Avenue de Paris, the Avenue
on an orthogonal
are planned
grid.
landscape
The
Both halves
rond-points.
on the
The
palace.
entire surrounding
is
immense
century
right. "
"
dome
to glorify the
city:
contents.
who
also
And
its
struc-
it
is
visited
by innumerable persons
Louis
XIV
alone.
Monarch
It is
lo-
Hardouin-
still
retained
its
was,
It
complement
a variety
"The
of "places."
breaking
down
den into
feelings."'
villas
in relation to
we
human
recognize,
made up
pronounced desire
Maria Maggiore,
60
in a selvatico ("wilderness").'
In the
a trident
From
new
S.
its
XL
Rome,
XII.
S.
Andrea
73. Sebastien
della Valle,
Le
Prestre de
Neuf-Brisach, plan of
interior.
Vauban,
town
{contemporary engraving).
The main
lateral parterres.
axis continued
peated
at
is
emphasized by the
tall,
l)if
KHuuiU' Fe*huy
Xf.L" Bkisach
^Hiit^ lieu
central
is
is
also
due
tion of the Italian garden casino in the middle of the total area, in lieu of a
transition
The
is
Le Notre, who more than anyone else realized the Baroque idea of space on
the levels of city and landscape. "' In spite of their infinite variety, his gar-
dens are based on a few simple principles. The main element, naturally,
the longitudinal axis.
his "goal": the
yard,
the
quet,
still
phy
is
through
To make
extension
this
still
more
dynamic element
The
in the
radiat-
flat terraces,
re-
is
It
reflect-
whole composition.
One
ex-
which created
centrate on the entrance, and after having followed the longitudinal axis
ever.
through the palace and the main part of the garden, the movement again
away
to
a motif
original.
The
parterres
and bosquets are not placed behind each other but next to each other,
ing the space along the
main
giv-
had
to
more potent
artillery,
the bas-
periences an echo of the open ocean, always changing with the weather.
radiates
spatial
more gradual
transition
sur-
cations as well as
new towns.
Neuf-Brisach (1698).
roque city
is
to the
fortifications
no longer formed
the limits of the Italian gardens have dissolved. Rather than defining space
Lit-
wonder that his works were called jardins d' intelligence. In Versailles the
same basic scheme is employed, only on a much bigger scale and with more
tle
such as Salle verte, Salle de danse, Salle du conseil, Salle des festins.
selvatico
is still
tame, making
to another.
it
present in the
it
The
easy for the hunting parties to get quickly from one place
The whole
area
is
We have
61
'
Chapter Three
THE CHURCH
Introduction
We
Roman
Counter-Reformation.
Down
to the
end of
Italian architects.
countries,
During
new
typologies. In
most countries
its
development, however, we
to
Baroque
which
took place
this process
may
a diffusion
biosis
however,
this period,
unification
We
of
have already
the traditional
of
i.e.
All the details contribute to this effect: the blank lateral bays
fined by a half pilaster towards the inside, the increase in plastic decoration towards the middle, the break in the entablature, and the interruption in the central bay of the string-course running
facade, thus,
becomes
a very subtle
Within the
and the
urban environment. As
a large "gate,"
under the
capitals.
The
a whole, the
little
attention.
it
plastic form.
bring about a weakening of the two traditional aspects so that they approach
For
as the integration of
dominates the movement already before we enter the church, not because
spatial elements.
We
its
spatial interaction.
The
more
we may,
on the one hand, and the synthetic development of new types on the other.
As the process does not follow a simple chronological path, we will treat
the basic intentions regardless of their being earlier or later in time. The
names of the same architects will therefore appear in more than one place.
More
attention
is
also discuss
some
more briefly
particularly important
fact,
The development
Borromini
The con-
in the last
chapter
French examples.
seventeenth century, in
hesitant.
in particular to
We
During the
still
may be
traced back
even before.
composition
axis.
At the same
understand
this
The
As
trocento churches.
laborate,"
Giacomo
ther
62
in
II
is
is
enhanced; to
at
same time
the
as
ex-
in
'
siderably higher.
Gesu. There
II
is,
differ-
The
dome
one enters.
that runs
it
turally concretized
ent.
typical example,
emphasized elements: the "gate," the "path" and the "goal," architec-
all
influence.
made
Another innovation
is
and continues
in
broad transverse
ribs.
is
allows through.
less
As an organism,
S.
plastic
light
it still
76.
Rome,
S.
Andrea
della Valle.
drea
is
is
plasticity.
no,
'
a great step
S.
An-
articulation, S.
This also holds true for the facade originally planned by Mader-
phasis.
remnant from
Andrea represents
center, a
A general
vertical continuity
is
is
a certain rhetoric
present, which
is
is
carried
on
em-
in the
model, but
as well as
The
Maderno
The
(1607-12).
by
St. Peter's
'
all,
in
1605
as Paul V,
Roman
Maderno was chosen, and on July 15, 1608, the foundation stone for his new facade was put in opera. In 1611 the Papal blessing
was given for the first time from the new benediction loggia, in 1615 the
vault of the nave was finished and in 1626 the nave was consecrated. The
nave and facade by Maderno are probably the most discussed and critiarchitects. Carlo
whole design
(of
"The
The eye would have taken it in as one thing. Michelangelo comdrum of the dome. The rest fell into barbarian
hands; all was spoilt. Mankind lost one of the highest works of human intelligence... The facade is beautiful in itself, but bears no relation to the
Dome. The real aim of the building was the Dome: it has been hidden! The
dome was in a proper relation to the apses: they have been hidden. The
portico was a solid mass: it has become merely a front." This statement
well illustrates the problem Maderno had to face and the intentions of Earand
entire.
ly
of Michelangelo as
a "thing"
it
is,
rect
and immediate
holder.
made
complete
that
in itself a
relation to the
single mass,
di-
the church
64
c*.'
<\ 77.
Rome,
central nave.
St. Peter's,
79. Frangois
Mansart, Paris,
Val-de-Grdce, plan.
munity of the
is
ecumene
constitutes the
its
rites.
it
terms of urban space, and thus develops the monument's urbanistic func12
We
tion..."
this
essential
we may
the
in
Michelangelo facilitated the addition of a nave which would not have been
the case
if
all its
reason
why he and
his followers
is
probably the
When
ability,
tem
his intention.
They
shows
as the goal
Maderno made
the addi-
The
aisles,
sec-
sys-
somewhat pompous
The facade
sec-
char-
of a longitudinal
is
and persuasive
effect.
is
"nor-
mal" two-story basilica facade would have hidden what is still visible of
N
The planned campanili should have connected the excessive
the dome.
length
We
we
perceive today.
have so
gitudinal church. It
movement
in
depth
is
synthetic form.
two-story scheme
16
The facades
as-
introduced by Alberti in
new
lon-
independence
S.
in favor of a general
accentuation of
the central axis, namely the "entrance." For this purpose, an increase in
plasticity
The scheme was repeated throughout the seventeenth century, also outside Italy. As an important example, we may mention the church of Valde-Grdce in Paris by Francois Mansart (1645). " The plan shows a nave
concluding
dome surrounded by
Roman
however, are not connected to the nave and the transept as usual, but open
directly into the crossing along the diagonal axes.
68
dome
is
strengthened by the use of apses rather than transept and choir. With
To make
this possible,
this
solution,
18
in
The facade
the
His wide
piers, in fact,
follows the
Roman
During the
last
seventeenth, a considerable
and
built,
oval.
The
new
first
of the
structures were
gitudinality
is
well suited for large buildings, also because of the technical problem of
constructing a
dome over
first to
build
prototype which became very important for the whole Baroque develop-
ment.
form or
a constituent
eenth centuries. In
Rome
Giacomo degli Incurabili, planned by Volterra in 1590 and finMaderno 1595-1600. Exceptionally large is the oval pilgrimage
church of Vicoforte near Mondovi in Piedmont by Vitozzi (1595-96). Bephase
is S.
ished by
ing a complete
possibilities of vari-
was often
its
unification of
is
movement and
be-
Roman Church.
whole epoch, however, we
During the
the
tagon.
An
S.
Salviati in S.
latter, full
is
obviously
wish for
a richer,
we may
is
al
Celio (1600)
however,
more
The
real
in the cor-
motivation,
plastic articulation.
Among
Giovanni
cellotti in S.
in
A slight
ally
axial direction
is
(c.
and
of a cylinder
"Bohemian cap."
Diagon-
altar.
pronounced
of entablature, give a
ending
ribs
vertical direction
which continues
This structure
splendid stucco work, contrasting thus with the plain surfaces of the
ed-in" walls.
The
total
organism
is
in
accentuated by
is
"fill-
chin enclosed by secondary walls, a solution which was to have the greatest
Few
in or near
Rome during
transformed into
as
Baroque "mystery
obviously de-
is
by the
in action"
is
plastic decoration,
is
dedi-
cated to the Virgin and, according to the legend, rejoicing angels strew
flowers on the day of her Assumption.
The
celestial
is
adumbrated
in the
Baroque urban
is
pilasters
and
is
flanked
The church
re-
ated.
be
as part of a typically
will
its
pilasters.
essentials,
is
A Ba-
thereby cre-
based on
setting, the
is
is S.
is
dome where
however,
It has,
through by
Its
plan
is
Bernini,
indeed original:
a correspondingly
using the long axis of the oval for achieving an "easy" longitudinality, Bernini thus introduced a
at least
seemingly.
A closer
is
it
run against
and we experience two radiating "stars" that accompany the main move-
The
analo-
69
Rome,
Paolina.
St.
Andrew
soars
holder's attention
power
gestive
The
More
to
heaven on
way
to the
25
architecture."
is
up
which
in
relationship
it
A small piazza is
formed
sug-
its
lines of the
also solved
is
in front of the
church by
two quadrant walls which have the same diameter as the circles defining
26
These walls are joined to the volume of the church
the interior space.
where the
is
attached.
The
common
is
from the facade into the piazza. S Andrea al Quirinale demonstrates the posBaroque transformation of a simple theme. It represents,
.
sibilities of a
new
among
2
'
It is
Roman
Ba-
the fundamental
in
Europe,
ture.
dome and
of Bernini
show
a traditional division
between
is
at the
we
find a
Among
the
more
A certain
Here
is
tall
longitudinality
5.
drum
a circular plan
is
is
Turin by Vitozzi
static
in
2h
Trinity.
The
as
an ex-
Visitation in the
Rue
St.
la
built
Visitation de Ste.
29
Marie.
70
main space
is
axis.
The way
"^X*0T>
g'
mm mi
'
,
<^^^f
81.
Rome,
82.
S.
by Falda).
vault.
83. Ariccia, S.
Maria
Rome,
84.
interior of
Rome,
86.
Rome,
Andrea al Quirinale,
S.
Andrea al Quirinale,
S.
De
plan (from
as
87.
view of facade.
85.
S.
S. Andrea al Quirinale,
dome.
Logu).
way
that they
dome
smaller
is
this
is
the
The church
first
also
is
is
The facade is designed as a large arch, into which a smallinserted. The simple and unified scheme satisfies the basic
thereby achieved.
er aedicula
is
intentions of the Baroque church facade, but contrasts with the com-
plexity of contemporary
Bernini's S.
a correspondingly syn-
The church
thetic solution.
Andrea
al
ence, but the idea of spatial interpenetration was hardly understood before
work
n
the
fact,
interpenetrations of
first
Paris (1662-65).
So
far,
tempts
we have
at the creation of
new
types. Before
we
at-
/K
V?
\
"
h-
z^
The
of the/e consists in
first
together two domed spaces, whereby the first corresponds to the nave of the
traditional longitudinal church.
tury; as an
^>
V^y^
The
where
Greek
cross plan
is
di
a large
S.
dome
of the chancel
characteristic
ment
results,
is
common
to
but
at the
few years
later
S.
we
space
is
widened
as the piers
to receive niches
distinguished by columns.
and
The presbytery
coretti.
is
was
to
in
Cen-
Maria
della
Europe.
as
S.
in
is
added
domed
To
verse axis and an opening screened by the altar in the middle, resembling
It is to
to
He thus
S.
Wittkower's merit
Maria
della Salute.
models for Longhena's articulation by means of grey stone for the structural parts
to Florentine procedure,
cal
tical
fillings.
a coherent metri-
is
'
spaces of S. Maria della Salute are joined together by optical means. "In
spite of the Renaissance-like isolation of spatial entities
and
in spite of the
is
a scenic pro-
gression along the longitudinal axis... In S. Maria della Salute, scenery appears behind scenery-like wings on the stage. Instead of inviting the
eye
as the Roman Baroque architects did to glide along the walls and
"
domes form
is
also evident in
a picturesque group.
Maria
it
how
basic
Baroque
in-
is
offered by the
Dome
des In-
on the main
in
com-
also
wanted
classical
douin-Mansart added
this traditional
a spacious sanctuary, of
scheme Har-
created.'''
Greek
axis
was
The arms
of
at
76
msi^^&tiEGmm.
Church
Church of the
90. Paris,
Church of the
91. Paris,
interior looking
Visitation,
upward.
Visitation.
derived from F. Mansart's Val-de-Grace. As a result, an increased integrationof mass and space is achieved. This integration mainly serves a strongly
developed
verticality,
The
off domes.
up
thus, builds
which
is
The
facade,
plastically
in-
drum and
the cupola proper. Strong buttresses are placed in the diagonals (where, in
fact,
"static"
minates in
classical architecture
is
its
usual
cul-
a singular synthesis of
Another
of
dynamism
in
dome
vertical
built.
Greek
Rome
Carlo ai Can-
S.
which
rests
(1612-20).
'
on strongly projecting
The
flat pilasters.
piers,
whose yellow
The space thus has a unified and total character, in spite of the lonAs a whole, S. Carlo ai Catinari is a convincing example of
Early Baroque planning. The church had a certain influence on following
developments. The church of the Sorbonne in Paris by Lemercier
space.
gitudinal axis.
(1636-42)
is
main
ne, the
axis
is
longer,
and the
S.
Carlo
lateral chapels
present.
lateral
is
41
Catinari.
ai
At the Sorbon-
is
thus
its
forming
a wall to the
in SS.
its
and the following year he started the rebuilding of the church of the acade-
my. As
to rest
made
on
full
he took
a circular
A strong wish
for plastic
and
means
of
spatial inte-
92.
S.
Maria Kicchino,
Giuseppe, plan.
93. Francesco
Milan,
S.
gration
is
main
axis;
fact, are
wider than those of the transept, and the apses are semicircular (those of
The differences, however, are hardly percepThe space has a singularly unified character determin-
ed by the rich plastic modelling of the bounding wall and the lack of
coloristic differentiation.
umn, which
Full
is
The
basic element
structure.
employed
is
primary
The
by
inter-
project-
a skeleton
"openness"
is
found
in the
A singular,
behind
is
achieved. This also holds true for the organic relationship between interior
complementary
to the spaces
The main
order employed also repeats the members of the interior, and the columns
flanking the entrance express the openness of the apse. In
all
facades the
in fact,
seems to be
The elongation
dynamism
alive; like a
seem
of the
to
muscular body
main
it
and the
axis
happening here and now. SS. Luca e Martina, thus, better than any
a stage for
thereby realized
a truly
theme.
a traditional
and
Baroque architecture.
axis
was in-
tempt
at creating
If
ganism
is
a simple rectangular
by freestanding
pillars.
due
to
Girolamo Rainaldi.
The
or-
in the
middle
a straight architrave.
80
is
Teresa in Caprarola.
volume covered by
S.
it
is
arched,
This architrave
97. Venice, S.
cornice.
Longhena, Venice,
Maria della Salute, plan (from
96. Baldassare
S.
L'Architcttura.
I,
1955).
^a
>
<V\
&
1!
" *-*
r.
..;v(r>- -
./
41
k
3P*
Maria
della Salute,
Hardouin-
99. Jules
Hardouin-Mansart,
Dome
projection (D.A.U.).
25
84
50
Paris,
Dome
engraving).
v_
-x-
.....
JSJ^SS
TJQJili-^
tfejti
'
ns
Hi
a ",^s
yOriu azur OCE lOrnr/cx
a.
it
.U'
101. Paris,
interior.
Dome
des Invalides,
02. Paris,
exterior.
Dome
des Invalides,
103.
S.
104.
105.
Carlo ai Catinari,
Rome,
S.
Rome,
S.
Carlo ai Catinari,
dome.
interior of
plan.
Carlo ai Catinari,
jagade.
wall,
which
is
left at
Exactly the
mentioned above.
"filling."
stressed
is
by
Girolamo Rainaldi
retains
its
is
whole
interior.
schemes. The articulation also prefigures ideas that were to flourish during
the eighteenth century, in particular the characterization of the main axes
as
arches break
fact,
through the main architrave and frieze here, and where they meet the outer wall, blank filled-in surfaces express the "openness" of the scheme.
We
Maria
S.
we
is
in Publicolis in
developments. In
that have
domes added
Rome we
find, in fact,
S.
S.
Maria
in Campitelli,
which he joined
scheme
is
showing
as
fairly
his
by
architecture.
covered by a
from Cortona's
in Campitelli
Roman Baroque
a circular presbytery
a further
Maria
For
to centralized naves: S.
is
a longitudinal oval to
Teresa as well
his father's S.
S.
col-
umns flank the main axes along which the spatial elements are organized.
The elements touch each other and form an "open" system, which has
been used
to give
axis,
where
on the transverse
axis,
but here
they are reduced to lens-shaped chapels. Only on the diagonals of the main
space are solid piers introduced, which contain secondary openings and
coretti.
spatial
The
common
with the
showing
Roman
a two-story screen of
Baroque.
columns
'
The facade
is
in front of the
wall, indicating thus the general spatial transparency of the project that
changed the
in
project. All the essential parts of the first project are pres-
Church
08. Paris,
view of the
interior.
Pevsner).
107. Paris,
facade.
movement
gitudinal
fact,
in
depth
is
The
a bi-axial hall.
lon-
in
The
a votive
column
is
is
used as a symbol of
"One must
not
than
faith, rather
an optical
talk, therefore, of
on the image
directed
in the apse,
as a structural
and the
member.
logical
first
With
its
If
The church
church arouses."
it
suc-
as per-
architectural forms
this
is
the pathos
of
Cam-
Maria Maddalena by
De
49
Rossi
Roman
understood
as a bi-axial
all
tra-
first
of these
may be
on
the
first
is
based
and the
last
are parallel to the longitudinal axis, while the three middle ones define a
secondary importance as
The "diagonal"
it
The
domed
tall
this wall-articulation,
at
De Rossi man-
The
unit behind.
building
it is
or-
fulfills
the
a ven-
Madonna.
we have
seen
how
teenth century to meet the Baroque desire for a synthesis of center and extension, integrating thereby the building in a general, ideologically found-
ed context.
architects
real systematization,
we have mentioned
so far.
in-
dividual tasks within the general aim of formal integration and persuasive
accentuation.
Some
of these combinations,
90
-/-
Luca
De
Logu).
110.
Rome,
diagram.
92
Rome,
111.
Rome,
SS.
Luca
e Martina.
12.
Rome,
SS.
Luca
e Martina,
interior,
dome.
SS.
Luca e Martina,
13.
Rome,
SS.
Luca e Martina,
vaults.
114.
Girolamo Rainaldi,
Caprarola,
S. Teresa,
plan.
Maria
the
first
116.
Rome,
1 1 7.
in Campitelli, plan of
oval project.
Rome,
S.
Maria
118.
in Campitelli,
/Nir^^^L
\Ju^=^r^
*
94
Rome,
S.
Maria
in Campitelli,
Rome,
exterior.
S.
Maria
in Campitelli,
1
jll
*
*5*2?
&
Mipp
1
F 8
1
r9^^
II
We
prarola).
also find some attempts at developing a
more general method
of spatial organization mainly in the
interpenetrations of Francois Mansart, and the suggestion of an "open"
grouping in the first project for
Rainaldi's S. Maria in Campitelli. Of a more
general importance was the
at the definition of
one dominant
relationship be-
were the
real constituent
The need
for a
that
new
was mainly
space was
something concrete that could be shaped and directed, rather
than an abstract relationship between plastic anthropomorphic
forms. He thereby
and
by applying the canons of classical proportions..." 51 The
spaces of Borromini are complex totalities that are given
a priori as inlinear structures
divisible figures.
With
character, above
all
97
simple and logical than the often rhetorical works of his contemporaries,
and we
units.
and
up new
fertile possibilities
SS.
in
work
first
Sacramento in
Paolo fuori
le
his death.
is
by Maderno
built
assisting,
and
skeletal "net."
breaks to form
There are no
flat ribs
concave shape of
and
The
tament.
The
comes surprisingly
solution
ganda Fide
Re Magi
in the
ter that
The
is
space, therefore,
is
close
Palazzo di Propa-
inte-
is
S.
we
The
is
circumscribed by
make
clearer the
module, and
in the other
its
by dividing
a coherent
module
geometric configura-
intended
as a
ele-
S. Carlino,
however,
is
is
rather complex.
The
ed Greek cross scheme. These are fused rather than combined, creating
result a bi-axial organism. All of these
as a
a con-
lonnade" which
is
continued
all
variation
on the theme
the solution.
The bays on
in
(a
Madonna which
is
characterized as
in the
diagonals are the structural elements within the whole, having a straight
of
a basic arithmetical
means of
The
By abnegating
les, i.e. in
variations.
find the
cloister
entablature and columns with capitals different from the others. They
have, in fact, active standing volutes, whereas the other "secondary" col-
capitals.
We see,
thus,
how Borromini
dif-
ferentiates the function of the single elements within the unitary whole.
columns. There are no corners in the usual sense of the term, as the narrow
We could also add that the piers are joined to the flanking bays by means of
continuous mouldings over the door and under the arches of the main
is
several
illustrated,
is
Borromini to solve
this
a motif
find
re-
by
we
is
taken care of
much
that
it
What
is
do not have
S.
dome
Carlino
is
of St.
It is
an ambiguous
Vertically, S. Carlino
shows
The
vertical continuity
is less
We
when describing
We
5J
is
Peter's.
98
is
the geo-
romini's interest in giving each individual space an appropriate psychological character. Virtually
axes.
in S.
The Baroque
120.
Rome,
121.
A Unhid leu a
interior.
122. Francesco
S.
Bonomini, Rome,
Rome,
S.
124.
Rome,
S.
XIII.
Rome,
'SETJUW
125.
Rome,
S.
Sammlung
126.
Albertina).
Rome,
S.
Fontane, facade.
127.
Rome,
S.
>
m
t
*%.
f,
-
v
l
'<t
tr
f
7/V
\y
>i
128.
Rome,
S.
129.
Rome,
S.
Rome,
S.
Fontane, interior.
104
\
'.
R otne,
dome.
S.
XVI. Turin,
SS. Sindone,
dome.
dome.
132.
Rome, Oratorio
facade.
dei Filippini,
(Vienna, Graphhche
Albertina).
Sammlung
Sammlung
hi
106
Rome,
/
1
feYrfn
.*
)
*-r
->.
t,
,^-sec
3
-t
~~~&&sr
>j
>5s:-jVv ,.'k^-,.^
.
.*
^7 r^/V^f
-.
-*
fj
Li.
i
?>>.
H4-
:/-
108
135.
Rome, Oratorio
court.
dei Filippini,
136.
Rome, Oratorio
dei Filippini,
interior.
109
137.
Rome, Oratorio
dei Filippini,
Rome, Oratorio
dei Filippini,
110
Rome,
140.
Rome,
S.
Dolori, diagram.
141, 142.
Rome,
S.
and
Rome,
and
fulfilled in a
is
new
general way,
as a
Borromini's form
added 1665-67.
Its
is
also evident
undulating
the meeting of interior and exterior "forces": the expansive space inside
which
is
,<
romini.
'
And
was
a large
We need
The
'
at
existing Chiesa
his brief,
Nuova and
its
large sacristy.
The
to plan an
a cortile
and
as
a giar-
corridors.
shown
in
moved out
a further
development of the ideas from the Cappella del SS. Sacramento, has
axial disposition,
determined by the
altar
on the longitudinal
unified by
ners
means of
where the
The
and
as a
v
'
The
"...
a bi-
and the
skeletal character.
axis.
axis
pronounced
cor-
when
had
in
mind the human body with arms outstretched, as if embracing all who entered there, which body with outstretched arms is divided into five parts,
6
that is, the breast in the middle, and both arms in two parts each..." The
building, thus, should receive the visitor, in other words, interact with the
urban space
is
tablature
a synthesis of triangle
is
112
all,
The
144.
and
S.
section of
(Vienna,
Alhcrtina).
Sammlung
metamorphosis
to
is
Albertina).
totality.
The
building
also
is
within
totality placed
somewhat
to build a smaller,
at
S.
Maria dei
S.
shall
a first
similar build-
Sette dolori.
is
was asked
In 1642 Borromini
ing, the
when grouping
Maria dei Sette Dolori the church, the vestibule and the space
concave facade determine each other reciprocally. Where
in front of the
one contracts, the other expands and a pulsating effect results that
changes space from being mere extension into an active "field" of forces."'
This principle of pulsating juxtaposition was to have a fundamental importance for the further development of Baroque architecture.
It
must be
dis-
were made of
leads to a
elastic material.
it
The
lature
if
they
church
is
as
interior of the
shape,
The
metamorphosis
principle of
to the situation.
ferior design
is
is
according
a scroll
later,
and
its in-
what
is
church of S. Ivo
in
one of the traditional schemes, such as the octagon or the Greek cross, and
invented instead one of the most original organisms in the entire history of
architecture. S. Ivo indeed
makes us remember
his
proud words:
"I
would
not have joined this profession with the aim of being merely an imitator.
The plan of
S.
Ivo
developed around
is
however,
is
girdling entablature.
6 ''
alter-
re-
The
as
And,
in fact,
"carry" the ring of the lantern, while the other ribs only
form large frames around the windows of the dome. Thus, again, we en1
113
>
xs-itz
at
'!
r3
<"&
*,
*#'
rt
i
V-
-#*"*-***
i
i*
3
4
,1
l~
1
-.
f -*
.^*t
jZ
"4f
*#-
if:
u.:s-t\
*--
*V
i'
.?
-4ft!
.V
3 I
**
l
En
>**#
K
r
46.
Rome,
S.
147.
Rome,
detail of
The
grated totality.
is
S.
dome.
The dome,
comes
to rest
troduced in
Ivo
is
towards the circular ring under the lantern. The inside of the
lantern,
S.
sides,
and the
The
S.
in general
complementary
drum
appear in the
as
bundles of pilasters, while the walls between them have the character of
The
dome below and
composition. More
than any other work, S. Ivo must have inspired Borromini's contemporaries to consider
him
"Gothic" architect.
It is
ganism, but being based on the triangle and the hexagon rather than the
square or the circle,
found
it
has,
none the
less, a
wanted
to stress
is
never
altar, a direction
from the
which Borromini
the altar, forming part of a circular space that interpenetrates with the
''
its
is
S.
di-
Baroque architecture.
Most important
is
search into space, the Cappella del Re Magi in the Palazzo di Propaganda
Fide. * Again we find a bi-axially organized hall, with rounded corners and
a skeletal
ribs.
The
peared, and the lower part of the chapel actually opens onto recesses in
such a
The
way
is
immersed
"Gothic" system.
Its
dynamic character
is
expressed in the swelling bases of the pilasters, and the strong vertical continuity.
The main
is
pilasters, separated
by large windows.
And
still,
horizontal
The Propaganda
est scale.
a large
church came
in
1646
The
task,
however, did
be preserved, and the work had to be finished for the Holy Year in 1650.
Borromini secured the endangered structure by encasing pairs of the existing columns inside broad pillars.
The
pillars
he covered with
a giant
order
vertical con-
mod-
^^fc&^^StSX^JsS
in space.
aisles.
a relatively
dia-
117
118
150,151. Rome,
S.
Ivo alia
v\jii-\\ifr^'
1 52.
Rome,
S.
153.
Rome, Palazzo
di
Propaganda
Re Magi, section
Graphische Sammlung
(Vienna,
Albertina).
r7".
';.
155.
Rome, Palazzo
di
Re
Propaganda
Magi, plan
The
still
is
has
fragment,
shows us that
it
is
Giovanni
S.
in existence.
was intended
costly enterprise
had
to be
in
The
as a unified
vertical continuity.
intended
abandoned,
its
The
pillars,
is
inter-
aisles are
as a succession of baldachins,
concave corners that continue into the vaults. The larger vaults are
"Bohemian caps."
S.
S.
a large
it is
church.
as to
how Borromini
Remembering
clear that he
his ideas
pul-
for
in particular contexts,
handling space.
By
He
invented rather
method of
this
tasks,
creating buildings that are particular and general at the same time. Basically his
method
is
dynamic
"field"
is
68
It is
important
in-
'''
pomorphic forms
(i.e.
make the
down. Bernini
felt this
new
static psychological
when he
called the
all,
Borromini made
space
itself
become
a living
systematically
man
in the world.
is
open
world of the seventeenth century. Travelling for his Order, the Theatines,
he planned or built churches in Messina, Paris, Turin, Nice, Vicenza,
Prague, and Lisbon, as well as several smaller towns in Italy. Present in
to 1647, he
Rome
122
later
Rome, Palazzo
156.
di
Re
Propaganda
Magi,
Rome, Palazzo
157.
Propaganda
Magi, vault.
di
Re
his intentions
and solutions,
Civile
as well as
other literary and philosophical works that indicate the profound sym-
own
we may
context,
word
systematization
cells
pulsating juxtaposition.'
movement the
dulating
In our
composed with
'
who
systematically
to the principle of
"The sponta-
is
Maria
but
in
is
Lisbon (1656-59?),
is
is
S.
pilasters of the
nave quiver. In
its
The longitudinal
spatial fusion,
axis
is
however,
ry of architecture.
The
defined by
is
present which
is
without precedent
in the histo-
movement, and
The
starts.
fusion
is
and by omitting
grow
it is
all
dividing lines.
It is
is
its
cells.'
The
particular
dedication, as explained by
is
is
S.
ter principle,
terior.
for a
shows
In fact,
and
a full
it
The
problems of
aisles are
aisle of
its cells
The
spatial interpenetration
composed according
half also
Maria
tools.
two solutions
to the lat-
(right half)
and
The
interior
right
and ex-
left
158.
Rome, Palazzo
di
Propaganda
Re Magi,
S.
BtMOiWJi
*>ri
i
it
>
Giovanni
in Laterano,
^afcu T^
.
T iW>i
ia
him
11258 (Rome,
Jf>
.>* .i
v>
--
'
it
mm
'i
60. S.
'.
it-
in Laterano, section,
interior.
^awegMwww
Giovanni
it
:'.,
161.
Rome,
Laterano,
S.
Giovanni
in
nave.
162.
Rome,
S.
Giovanni
Laterano, interior,
aisle.
in
163.
Rome,
S.
Giovanni
Laterano, interior.
in
^EgpJ:
*"*%#%,
iUti
Plate 18).
164.
S.
165.
S.
form
plastic
is
reduced to
a skeleton
which
is
covered or
by
filled in
sec-
terior
a de-
his
in-
method
possibilities.
we en-
tically
in-
The pronounced
To
plan.'
new
It
a general
extension,
skeletal effect
emphasized
vertical axis
large
result of a
its
dome
a finite
"
The domes
dome
of Guarini do not
After the
tinuity,
Ste.
first
making
Anne-la-Royale
in Paris
pierced by
plan
is
freely
windows, namely
ticulated
form
and diaphanous.
vertical transformation.
in fact,
by diagonally oriented
a clearly
pilasters that
combine with
vault-ribs to
in S.
Maria
della Divina
bounding surface.
This vertically developed centralized scheme was repeated in several
other projects.
Charles
Emmanuel
II to finish
Shroud," initiated by
Amedeo
di Castellamonte (1657).
8
'
129
167.
Ste.
168.
Ste.
u dXsxtCcJxEgS
\jffij
130
PUnta
.1,11,
(r,T
9).
169.
S.
attached to the east end of the cathedral in close contact with the Ducal
palace.
Having
interpretation.
it
completely
new
church and one from the palace, hedividedthecircle into nine sections, spanning every two bays with a large arch, and using the remaining three for
the entrances.
dral
to the chapel
main space
ment
is
levels.
at
the same
A continuous move-
stairs.
skill in
other con-
handling the
difficult transitions
by
means of interpenetration.
The
They
windows which
are also
found
over the entrance bays, introducing thereby a regular rhythm of six ele-
and three. The three arches carry the normal ring on which
usual
dome.
Its
"drum"
rests a
most un-
is
part of the inner shell of a "double" wall, related to the earlier solution in
Ste.
Anne-la-Royale.
The
arches of these
windows
mental ribs that are spanned from center to center of the six arches. Over
the ribs a
new
series
procedure that
is
Between the
three.
is
ribs, small
windows
are inserted,
is
stressed
and deeply
is
S.
further
is
repeated
Lorenzo.
Here he was
development of
built the
ism
is
twelve-edged
irrational char-
a large
ecclesiastical architecture.
it
was
The
to
Theatine
may be
con-
have on the
centralized organ-
On
is
is
introduced.
On
have been added, but they have been omitted. The piers on the diagonals
carrying the pendentives are transformed into a screen defining lens-
shaped chapels. Their columns and arches correspond to those on the main
axes, creating the effect of a
space.
The plan,
grouping of
cells.
131
170.
De Bemardi
reconstruction (from
Ferrero).
72.
S.
tern
171.
"open," but Guarini has only used some of the possibilities for add-
is
The
centralized building."
vertical
called a "reduced
Somaschi
related
is
in Messina,
with the difference that both domes are constructed by means of interlacing ribs.
After
S.
Gaetano
S.
Nizza
in
(c.
The
vertical direction
a relative-
strongly
is
emphasized and
more complex
(c.
1670?).
is
is
ed by a ring of oval chapels that are joined to the main space by means of
transitory cells shaped like concave lenses.
thus created.
The
membranes gain
skeletal structure
in importance.
all
Two
is
and S. Gaetano
somewhat
in
different ap-
cells.
The
spatial
Filippo
S.
cells
system
a thin outer
is
de-
circular and
is
defined by
by
as well
growth.
is
proach.
pulsating juxtaposition
on the ground-floor
as vertical
is
is
closed in
membrane. In the extended grid Guarini introduces a cirdome which interpenetrates with the four sur-
rounding circular
cells.
The combination
S.
to S. Filippo.
The circular
was achieved
on the main
cells
S.
Gaetano
is
related
been sub-
aS3Sr ^^S2Sk
makes
cir-
in S. Filippo
recesses.)
The vertical development shows a more varied transformation than the relatively simple dome of the former project. The central square with internally
convex sides
a larger circular
shells
^fflT
wua
iK
4^
is
dome
consisting of
two
shells
is
superimposed. These
is
vertical
S.
intended by Guarini
Gaetano
is
in
realized
S. Fil-
XVII. Turin.
S.
Lorenzo, dome.
Concezione, dome.
173.
S.
During the
of spatial articulation.
method
applied his
last
to longitudinal organisms.
The church
of the Im-
macolata Concezione in Turin (1673-97) shows a succession of three centralized units; the first
may be
circular,
The
interpenetrations cre-
In general, the
hexagon.
as a rectangle or a
terior
classical orders is
more conventional
than in other works of Guarini, probably because the church was finished
after his death.
S.
Maria Altoetting
The
first
in
and the
tion as a
whole represents
solu-
and
S.
is
rically
members
none the
less a
The
struc-
skeletal effect
large, freely-shaped
is
pronounced
windows. Those
11
'',-"
in S.
We
have demonstrated
plied to large
of departure
how
as the
Greek
domed
>~
'/If/
i
i
units. Instead of
aiming
at a synthesis of these
schemes
as
to
all
the schemes,
at
in the
like
'"'-"
\i IV
\
'
\^%S':
'
cells
com-
into a coherent
attempted by
mon
He
thus
development of "open"
spatial groups.
i
The method
binatoria, as
is
an
ars
com-
tura Civile,
he says: "Though
it
art,
is
133
174.
S.
134
175.
177.
S.
SS. Sindone,
(D.A.U.).
chapel of the
axonometric drawing
79.
>
180. Guarino Guarini, Turin
Cathedral and chapel of the
SS. Sindone, domes.
Y lfM
182.
S.
183. Turin,
S.
Lorenzo, plan
4).
184. Turin,
S.
Lorenzo, dome.
185. Turin,
S.
Lorenzo, perspective
(from
5t
i
,:.
138
j,r:\,
''
'
c> \
De
Bernardi Ferrero).
I
186. Turin, S. Lorenzo,
axonometric drawing (D.A.U.).
JP
dome.
domes.
nonetheless an Art aiming to please, which does not wish to disgust feeling
1-
Conclusion
The
means of
S.
bi-axial
pronounced center.
first at-
Maria Altoetting
project for S.
in Prague.
The
by adding
cross),
at
much more
(i.e.
flexible
large
combi-
attained by
tical
anybody
else.
dominant "gateway"
was
scarce-
to the theatrum
into another gate to the illusory space of a devotional image; the second
by indicating
a vertical
altar
by
"growth" of superim-
is
more
gitudinal axis
actively related to
makes
it
a part of
is
is
its
vertical accentua-
a characteristic
example.
Inter-
show
Borromini, and were systematized during the second half of the seven-
The
spatial continuity
gether to form
new
cients
used
is
this
often accompanied by
works of Borromini.
He quotes
so praiseworthy
Order
Scamozzi,
and beautiful
who
says:
to-
interiors
and
which
is
due
to the
that this
Order represents
sin-
as a point of
of the Church.
"
The
classical
the
then the stability of the basic dogmas of the system, while the illusional
The anTem-
"Indeed, of
as the Corinthian...
ing the
grow
Orders none
means
is
all
interiors of their
141
Concezione,
S.
interior.
(from Norberg-Schulz).
92. Prague, S.
Rome,
Maria Altoetting,
Plate 19).
t,
D GinwG
liAact
human soul
for a life to
"
be lived in
Bernini
As an apotheosis
of
'
is
dimension,
Popedom,
a single
it
monument
of the Ecclesia
form
itself
made
is
pri-
archi-
roque architecture of Central Europe, the two alternatives were fused into
a last,
142
exuberant synthesis.
*r*
^v^
&
St
A ."2
*.'
>j
.0?
>
Aw
-l:
Chapter Four
THE PALACE
Introduction
In the
first
we reviewed
and the
came
tation,
chapter
The
city-palace
demonstrat-
same scheme
life style,
a different
is
also in
be-
villa
development,
it is
it
form
plastic
and articulation. The palazzo therefore survived into the Baroque Age,
though
it
ferent.
in
al-
dif-
when
The
more flexible and more easily adaptable to the demands
of comfortable living. During the seventeenth century French architec-
is
though
and
mezzanine or
attic
is
are
al-
or piano nobile.
usually present.
it
and
The outside
velope.
It
wall,
The ground-floor,
thus,
of the book.
is
its
way.
more variable
The needs
satisfied
ace, therefore,
may be understood
also
com-
the
window
and contradiction.
as
who
type
is
generally
known
as the
zation of the Palazzo Farnese follows the general principles outlined above.
tional
took place, and they were used either to give dignity to the piano nobile or
by the palace
The form
the
During the
less direct
environ-
as a rus-
plastic integration,
functional and spatial transition between the courtyard and the rooms
in rela-
internal spaces.
furnish-
whereas
The rooms
first floor
ture, in fact,
was
in general
street),
on the
much
left
dwellings,
staircase
of the epoch.
It is
The
cade
cortile
is
shows
articulated
whereas the
fa-
The succession of characters, however, is not the usual one, as the windows of the piano nobile are framed by small Composite columns, while
the top floor is Ionic. The articulation, thus, is used to "express" the content of the building. The Palazzo Farnese represents the ideal of a complete, well-proportioned block that hardly interacts
with
its
environment.
The
Italian Palazzo
and
is
(cortile),
which
is
it is
The
distribution
of the secondary spaces, however, shows a certain differentiation, according to their practical functions
is
usually one
144
spaces.
There
He
it
spatially
middle of the facade by a large window over the entrance, and he planned
to
loggias
to the main
<l
Petri.
Rome, Palazzo
by
Borghese, court.
194. Michelangelo,
Ferrerio).
Ciacomo
196.
della Porta,
Rome,
by Fa Ida).
Rome
(Mattei-Negroni) in
shaped building.
Its
created.
is
a similar
The
solution
ed the
on the
sides.
to
in
is
in the adjoining
generally consider-
of the cortile in
whose
articulation
depth
The
tradi-
move-
is
transverse axis
limited to
is
ment
Amman-
is
Here we
Maderno
Baroque palace
first truly
may be due
is
It
stead of the usual two, and the landings are emphasized by saucer
is
in-
domes
decorated with rich stuccoes. Spatially the solution points towards the
great staircases of the
Here the
ghese.
High Baroque.
more impressive,
is
movement
is
is
given direction by a
fairly large
cortile.
But we may
lon-
The
"opening" on an
axis im-
garden to the
scape.
As in the church, interaction with the urban domain takes the form of a
new articulation of the facade, with a new emphasis on the central axis.
The creator of the first Early Baroque church facades, Giacomo della Porta, also made the earliest attempts at solving the problems of the palace
facade. By simply placing the windows closer together towards the middle,
he managed to create an efficient concentration, and thereby abolished
the static self-sufficiency of the traditional Roman palazzo. The unfinished Palazzo Serlupi (Crescenzi) of 1585
however, arrive
was tackled by
All the
at
Roman
to the
architects only
much
is
good example.
The rooms
He
did not,
problem that
later.
no clear relationship
to the
distribution of the spaces behind them. In the Palazzo Farnese, for instance, the
we go
main salone
outside
Rome we
is
find
'
If
solutions. In Palladio's
r\
i>j
<,t\c.o\ia
j'OKT.t
98. Francesco
Maria Ricchino,
palaces, staircases
Genoa, we find
palaces in
ly
we
Tursi (Municipio)
here
is
means of
means
and
is
also a surprising-
spacious vestibule
The
is
cor-
a great staircase.
longitudinal axis
The
at spatial
salone, thus,
strong
movement
in
depth
results,
and the
staircases.
of palace
was
visible, creating a
more intimate
The
solution
is
is
scale.
parent.
The mass
however,
to the
of the palace
up
is
Roman
is
and the
The
spatial con-
a systematic
infinitely stronger,
regularity hardly found in Rome at this time. The wall articulation of the
Genoese palaces is typically Mannerist, combining simple Renaissance arcades and complex experiments with interlocking rustication and orders.
From about the same period as the University in Genoa, we also have a
its
at creating a
more
active relationship
between the
the Collegio Elvetico in Milan, making the central part concave, at the same
time as he stressed the'general continuity of the wall by means of an unbroken, strongly projecting cornice and a regular repetition of window
The building, thus, "receives" the visitor, that is, exterior space,
way Borromini intended with his Oratorio facade ten years later.
The meeting of exterior and interior on the main axis is marked by a strongly emphasized gateway and a convex balcony. The convincing solution
frames.
in the
Maderno was commissioned to construct the new Palazzo BarRome. A preserved drawing in the Uffizi shows that he first intended to build a large, square block with an arcaded cortile. The plan of
Rome from 1625 by Paolo Maggi shows such a square block, but with projecting wings framing the facade towards the city. The executed palace, in
fact, has such a cour d'honneur, and surviving documents show that its
general shape must have been decided before January 1629 when Maderno
In 1625
berini in
146
Rome, Palazzo
Bernini,
200.
Rome, Palazzo
Barberini.
Barberini, plan
(by Letarouilly).
201.
Rome, Palazzo
Barberini,
diagram.
"
Borromini
transforming the palace into an "H." This layout was quite revolutionary
project proves that Maderno
The building-site, however, was
among gardens on the periphery of the town proper, and the idea must
have arisen to change the palace into a monumental villa suburbana. The
latter had been built on many different patterns, but a particularly fertile
for a city-palace in
first
type had been realized by Peruzzi in his lovely Villa Farnesina near the
The
basic
scheme of the
is
villas
was
to
with an
become the
Palazzo Barberini, the theme was taken over and further developed.
centration
is
expressed by
seven-bay
main
is
The
gradually reduced
axis. In the
risalto
superposed arcades. The portico leads into an oval sala terrena which opens
on
a long
ramp leading
floor
we
by means of
it is
a bridge.
As
on a higher level
room on the first
room and
Between
the garden
this oval
is
first
The plan
truly
Spatially
it
shows
and
more
in general
a lon-
in
The motif
Baroque movement
again,
al-
Italy.
Cortona
all
contributed to
Baroque
art
Maderno,
make
the Pa-
atids,
tacle."
is
no longer
fable,
As
/N A\
the basic
of a building as well as
its
7\
Rome,
203.
Rome, Palazzo
Rome,
(engraving by Specchi).
di
Montecitorio.
later secular
The construction
was started
was
Forty years
first floor.
who changed
Carlo Fontana
became the
later,
former
cortile.
similar staircases.
and
16
axis
which
is
The systematization
and closed
at
hall
symmet-
emphasized by
a great
central risalto
assembly
later a large
main
the building
thus, has
when
in
both ends by
is
dominated by
slight projections.
The
different
sections of the wall meet at obtuse angles, creating an effect of a large pro-
truding mass.
We
is
no longer intended
is
The ground-floor
means
the
of rustication
two
floors
and
characterized as a base by
is
tall
as a
determined by the
pilasters
which
also serve to
determine the five wall-units. The central axis was to have been emphasized by a gate flanked by atlantes carrying the balcony of a large win-
dow on
the
first floor.
solution was to have a decisive importance for the development of the Late
Baroque palace.
In the Palazzo Chigi-Odescalchi (1664-67), Bernini arrived at a further
who was
find a giant order rising over a simple ground-floor, but here the pilasters
create a regular
risalto is
was
to
richly
in a convincing
way
the closed character of the ground-floor, the festive openness of the piano
nobile and the intimate privacy of the top floor. In general, the facade represents a truly Baroque interpretation of Serlio's concept of the "opera di
mano"
rising self-assertingly
made much
its
clear organi-
The
palaces of Bernini
show
and
vertically.
His endeavours
culminated with the projects for the Louvre in Paris (1664-65). In 1664
Colbert,
who had
just
Roi, de-
cided to ask for advice from Italian architects as he was not satisfied with
the plans of Le Vau.
The
original intention
was
to obtain projects
from
Bernini, Cortona, Rainaldi and Borromini, but the latter refused to par-
first
second project
1,
(Paris,
Louvre).
f**-4
..i
ft
jt
149
Louvre).
The
ticipate.
interest of the
projects of
was
laid
had sent
a third
in
two
projects,
and during
his six
left
France.
'
The
fol-
lowing year, however, the interest of the King shifted to the rebuilding of
Versailles,
east
18
first project,
he mainly
shows
a considerably enlarged
around the courtyard are hidden behind two-story loggias and smaller
courts have been added to the east and the west. Architecturally the
project
is
first
become
risalto
Here the
by concave two-story
loggias,
whose movement
and the
risalto itself
emphasized by
is
'
The
result
a tall attic
is
a strongly
unified by a continuous
ume
terior space,
grandeur.
pil-
in-
magnificent
one square and one round, echoing the disposition of the Palazzo Barberini.
MMMKM-ww
smtfttTO
*
Iff
iiiitiftjm mmttijilnnm
IJJJJlliU
ii mil
on
!!!
111,
miwimm
The
teenth-century architecture, indeed worthy of the building task in question. In the first
Louvre
project, Bernini
demonstrated how
spatial in-
vol-
Baroque intentions
The
risalto
concave.
The
is
less
first
by
a third
a rusticated ground-floor.
convincing, as the
wards
and
a certain simplification
is
is
re-
In general, the facade has a relatively closed character, whereas the opposite western front should have had a wide risalto with open loggias on
150
facade
Louvre).
(Paris,
Rome,
floors.
The
Bernini could
make
By
a wall of
is
two
He
tiers only.
thereby achieved a
well-lit
in-
become
rrtf"!
his project
was
on
criticized
practical grounds,
reason
why
satisfy
it
"Paris
life.
it
did not
walls the
its
lies in
palazzo ever designed. Splendid though Bernini's project was, the enor-
mous, austere
pile
as
an alien growth
in the
would have
The
sombre
cast an almost
from both
lit
sides,
loggias
spell
Louvre consisted of
creating
an
appartement semi-double.
east.
'
Vau which
The
three
tall risalti
of
The lower
and an
walls
attic.
between the
have
risalti
a strained
One
risalti
are
com-
crowns.
With
to give elo-
quent expression to the idea of the divine origin of the absolute monarch's authority, an origin
palace designed by
a closed
from which
Cortona
is
also
it
drew
dominated by
a large
dome
The
resembling
one
might imagine that the program included a "crown."" Cortona also encountered difficulties in giving strength and unity to the large building;
vertically, thus, his
of superimposed elements.
certain extent to
Tuileries
is
The wide
risalto in
more
interesting.""
large oval
Lower wings
are
volume
in the
added on both
middle pro-
central
The
Cortona's interest in a rich play of light and shadow. In general the project
fc
-
-J
214.
Fide,
Rome,
Collegio di Propaganda
11257-8 (Rome,
Vat. Lat.
216.
Rome,
works by Fischer von Erlach and Hildebrandt. About the same time
tain
Cortona designed
never
The
built.
Colonna
in
the Louvre.
floor
which incorporates
enty years
later.
design for
first
iijot
a diujp a o a
The
a large fountain
how
artificial rocks,
in the
concave recess
with
counter-movement
in the center,
a rusti-
cated base.
Borromini
development of the
good information
as to his intentions.
r!
schemes shows
to build a
his ecclesi-
Rome.
of his
gitudinal axis that runs through the whole palace, a series of unitary
is
bi-axial organization.
again
The
how Borromini
thereby
movement
in depth.
center
is
marked by
his contemporaries.
shows
built
a quasi-oval cortile
sized risalto
is
(1645-50),
in
Piazza
gration
We see
Navona,
The
which
is
crowned by
a tall,
is
is
most important
large structures,
We
all
else
four stories.
made up
however, are
to
his
di
clear and
terior articulation.
The
Propaganda Fide
pal-
ace and existing structures along two sides did not allow for the develop-
ment of
a regular plan,
illustrates the
and
block
152
a singular
is
The
large
fagade.
fagade.
atrium.
de Coulommiers (engraving by
Palais
Marot).
(from Blunt).
du Luxembourg, plan
Luxembourg
(seventeenth-century engraving).
ners.
di
The continuity
Case
le
is
is
defined by
is
same
flat pilasters.
it
as if the
pressure of slow but irresistible forces. Between the pilasters large plastic
aediculae break through.
dilatation,
a study in
is
compression and
and expresses better than any other work of the epoch the
role
The window
frames are Doric, but a surrealist Doric which includes flowers, garlands
main
capitals of the
pilaster
tri-
its
in-
shows
A
the
culmination
is
found
in the building
seventeenth-century
of
Italian
which represents
palace
architecture:
new
Here we
ends in
the palace.'
On
brings together
all
the
-j
r-T-i
but
On
dome
this
it
inside the
sides of
ii-
based on a "U,"
ume and
is
tall
we
vol-
the main facade curved flights of stairs connect the two levels.
same time
as
it
complementary relationship
on
is
palace.
The
decoration reaches
its
The
by pilaster-bands closely
set
with
is
articua sur-
surrealist
articulated
stars.
is
a singular
achievement in
sev-
undulating
156
r-.-
'-'r
movement around
/-K
A
i
_i
p
'm
lifffililffilll
-e
1
10
30
/\
157
Palais de Justice.
de Berny (engraving by
158
Perelle).
159
236. Louis
Raincy, plan.
by
Philibert de
The
in his Architecture
large
quite different from those of the Italian palazzo. Rather than the
insula, the hotel
Roman
around
a spacious courtyard.
We
Le Vau, Chateau de
initiator of
he presented
Pere/le).
French
classical architecture,
many worthwhile
cation of the giant order to a house. This idea was adopted by Jean Bullant
the Chateau d'Ecouen
at
(c.
in Paris (1584),
tern in the country seats, as well as the larger town-houses such as the
ceau. In 1665
more regular layout were present, especially the placing of the main hall
opposite the entrance which gave the courtyard a kind of axis, and at the
a "U"-plan,
may be considered
make
Different
private. In the
The inhabitants
pressed.
and
logis
is
withdrawn
life
but they
still
may
follow civic
life
from
cortile.
The
still
subject to the
become
their courtyard
evident in
Chambord
domed
The man who was to unify all these ideas into what may be called a French
the Italian palace, the main part of the building faces the public world
is
a circular,
geneses
Du
and introduced
(1519-50) where
is
sys-
De Brosse built
in Paris (1615-24).
is
domed
tion of half-columns
logis,
on the vestibule
coupled half-columns.
join the
It
a sensitively
The courtyard
is
also articulated
logis.
arated, at the
The "U"
is
closed by a lower wall with arcades on the inside and a gate in the middle.
The corps de
logis
To
is
exit.
A clearly de-
same time
a fully
developed
axis
tall risalto in
is
columns. In his
own house
in Paris,
on the
street
De l'Orme
to be closed
by
a transverse
while the center of the corps de logis was taken up by a chapel whose apse
160
35
is
in a
is
reduced to the
Its engirdling
The Chateau de
corps de logis. The plan beaxis.
way
that
In spite of
by
many Mannerist
traits,
orders.
Rome. Un-
three
is
comes
The corner
pavilions
are
divided
is
achieved
superposition of
into
two bays
to
court
is
a very convincing
work combining
Baroque
to
become
The
wing hav-
The courtyard
thus created.
walls
thus,
the
by
close to that of the first palaces of the seventeenth century, such as the Palis
While the
staircase.
surface.
"U" has two floors, the corners are marked by three-story tower-like
pavilions. The articulation, however, shows a pronounced desire for unity
and integration. The whole exterior is enveloped by a continuous system
of coupled rusticated pilasters. The main axis is stressed by the introduc-
ais
and
third of
De
combines the plans of Coulommiers and Blerancourt. It was built for Marie
de' Medici and became in 1642 the residence of Gaston d'Orleans ("Palais
161
similar to Blerancourt,
domed
pil-
The corner
on each
floor, a solu-
The
unit consisting of a
wardrobe became
a standard. It in-
ment
distribution of
simple.
The
enfilade,
a strong influence
Madame de Maintenon
on
worthwhile enduring
drafts
infinitely
if
all
it
is
The
last
palace of
De
Brosse, the Palais de Justice in Rennes (1618), was built for the Parliament
of Brittany. This simple but sophisticated
work may be
ferent roots.
The
first
De
still
shows
Baroque tension,
depth creates
a typical
The simul-
dominant
axis leadless
Rome.
troduced
Wing
shallow cour d'honneur where the wings again are joined to the
tripartite central ressaut
by means of curved
colonnades.''"
The
162
all
The Chateau de
the
first truly
how
tall
windows
the basic
re-
series of super-
imposed spaces.
was
combined with
built for
1646.
"
In general, Maisons
multaneously
may be
fully articulated
and
fully integrated.
is si-
having their roots in the French pavilion tradition, are clearly defined by
ressauts.
The wings,
thus,
unified in a convincing
way by means
of
is
also
have
due
few build-
We
spatial
slight ressauts,
is
teristic
De
The main
On
ly
indepen-
a certain
logis.
have
axis
is
emphasized by "double"
ressauts,
It is
not easy to
and
we might say "classical" and "Gothic" propmore convincing dynamic equilibrium. The tensions
verticality; or
have found
inherent in the general disposition are echoed in the pilaster rhythms that
show
plastic expression of
dynamism,
its
The
modelling,
Roman Baroque
build-
and crystalline. The bi-axial vestibule repeats this genform although the articulating members show an original synthesis of
restrained, precise
eral
In the Orleans
dominant
intentions of
Mansart. In his
tical
development, ending
in
cut-off
a strong ver-
At about the same time that Maisons was being erected, Louis Le Vau
built the
and French
de Vaux-le-Vicomte, diagram.
240. Chateau de Vaux-le-Vicomte,
facade.
W V
163
164
de
la Vrilliere
la Vrilliere,
(engraving by Marot).
165
on the
of facade
Raincy
ces (1645).
is
closed by a
however,
is
court.
clearly defined as
real
is
a quasi-oval hall
which
The wings
A flat,
ground-floor
is
tie all
The
general character
simpler than in the works of Mansart, and the use of elementary, well-
Twelve years
after Raincy,
cre-
4 '1
of de-
comte
is
45
Vaux-le-Vi-
without doubt the masterpiece of Le Vau, and one of the most im-
It
on an "island" surrounded by
axis
a moat,
and
strong
by the
infinite perspective of
Le Notre's
and by
dome
that
is
we
see the
layout as a whole, the palace island forms one large ressaut which projects
into nature
is
repeated on
a smaller scale in
domed
volume forms the innermost meeting-point of the two "worlds." The palace, thus, receives the visitor in the cour d'honneur, leads him through the
symbolic center, and finally releases him into infinite space. This grand
conception
is
not a
new
The
however, are different. As one would expect after Raincy, Le Vau primarily
is
evident
if
we
look
at the
two
differenti-
166
The grand
salon
is
move-
ment,
at the
same time
as
it
is
however, have
lost their
itiate a series of
tripartite entrance.
On
at the
them concave,
The volumes,
same time
flat
form part of
thus,
continuous wall-
is
free themselves
which,
movement,
an eminently
as
the palace.
dome
front.
As
in
Raincy, the
Vicomte
is
and
made him
of French architects.
Vaux-le-Vicomte
is
also
accessible through
We
more
du Luxembourg. In Vaux-le-
logis has
made
possible
salon.
"
to
have
by the introduction of
been doubled,
a solution
grand
In com-
bination with secondary staircases and other degagements, the double corps
de
logis
ment
its
privacy.
The
basic intention
giving up representation. This wish was connected with the important role
of the
woman
program
for
in
French society. In
the
architect,
Mademoiselle de Scudery
fact,
with
said:
it
whom
"Indeed,
to
she did
it is
not
always
agree.
dream
so
much about
the ex-
a sort of "barrier"
between the
entrance and the private world, the chambre de parade for reception and
entertainment, usually furnished with a bed as the master and mistress of
the house often received in their bedroom, the chambre a coucher for sleep-
167
de
Le Vau, Chateau
Versailles, courtyard.
'
168
Chateau de
Versailles, Galerie
des Glaces.
he Van, Chateau
255. Louis
de
Versailles, plan.
of business con-
maid or valet
where the
of
life
In addition to thecham-
bre de parade, the larger houses usually had a salon and perhaps a galerie.
The
salle
thus,
became divided
might lose
many
into
in grandiosity,
it
The ground
'
plan,
gained in
And
situations,
it
home
even
life
in its smallest
M
details.
We have already
pointed out that the chateau and the urban hotel rep-
same basic
resent the
the hotel developed certain particular traits. Usually the hotels were built
adjacently, having therefore only
two
often
The
chateaux.
As
facades.
in
cour d'honneur led to the development of two courts placed next to each
found
in the
~i
R
^
*5H "^SfxP
n~^'-
\A
fo- =.
il
i>=^
II
by De Brosse and Lemercier (1613-23). The main axis of the cour d'honneur therefore no longer corresponds to that of the garden, so that a certain confusion in the spatial relationships results.''
was found
case,
ended
in the left-hand
The entrance
axis of
at
It
opened on the
stair-
The
front of a
pil-
like the
a central ressaut.
Its
more old-fashioned
is
'
It
was
built
we
ends in the
The
axis
base-court.
front.
main
lef thand
opening of the
St. Louis.
Again
a small
is
new and
garden
formulated in a
is
obtained.
on
The courtyard
is
a o d
(j rj
ijp
9d
db
C33
separated architecturally from the corps de logis, which has two short
wings of
its
own forming
is
ob-
Dflg Ol_^
of the garden, a gallery has been added for protection from the adjacent
buildings.
transverse axis that leads out towards the landscape through an oval ves-
viously derived from the corner pavilions of the chateau, and points to-
volume
results,
which
Baroque em-
the facades which have unusually large windows. Along the northern side
court that
''
la Vrilliere.
is
first
The
commission for
disposition
closed by a wall.
axis.
As
left side,
is
a private
in the
Hotel de
bringing about
the side walls of the courtyard which separates the corps de logis from the
The
wings.
articulation,
porary work of
by
wide
however,
Du Cerceau.
ressaut
sides, a solution
is
far
in the
contem-
which had
a slightly taller
in Blois. The ressaut deThe wall-treatment shows Mansart's senproportions and detailing, which made the Hotel de la
he
also applied
on
grander scale
Jars.""
1648
axis.
As
a conse-
in-
on
a similar site.
tibule
and
garden
is
separated from
the wing, this time by an interruption of the roof, whereas the wall articulation
is
The
continuous.
first
position of
added.
under
pediment and
ressaut.
broken
roof,
neau
is
all
a dis-
The corps de
logis has
two
stories plus
is
is
is
an
attic,
emphasized by
or-
a triangular pedi-
(half-columns at the central ressaut) on the corps de logis and single ones on
irregular
Balthasar
Briihl.
Neumann was
a
to use with so
Hotel de Lionne
first
much
It
belonged without
XIV
He was
to
ordered to
preserve the old hunting-lodge built for Louis XIII in 1624, and in 1669
it
long enfilades on both sides of the old building and a large terrace between
Le Vau,
Tam-
i.e. it
built as
an apparte-
ment double.
170
Be-
The garden
not preserved, but the bird's-eye view by Marot indicates that the
,'
59
pilasters.
new building which left the original court exposed.'' The result was an immense almost square block with
two wings attached to form a very deep cour d'honneur. The plan shows
bonneau had
is
did
tween these, the walls are completely opened by means of "French doors,"
the wings.
site
still
behind
The narrow
incorporated between
not permit the development of an appartement double, but the bel etage
it
is
made
them. The garden facade, thus, consisted of two projecting wings and
is
attic.
An
unusual feature
solution that
is
an
of Le Vau's surviving city-palaces
in a
is
columns carrying
a tall
the employment of a
entablature and
Chateau Je Dampierre.
Versailles,
Chateau de Clagny
(engraving by Perelle).
still
a rather
monotonous
character.
Here extension
as such
the theme, and accordingly the building has been transformed into a
where the
intervals
arched windows.
and represents
The system
between the
by
large,
a link
period and the great iron-and-glass buildings of the nineteenth century. Its
extension
juittn*
-<
ft
>
iiiiii
r t
tr
is
figures certain
Si
of Le Vau, thus,
has been transformed into one large ressaut, which actively projects into
the landscape. Seen in this context, the
The
flat
on the
its
lack of
in particular
were connected
else.
sovereign as
its
a true
Before he worked out his great scheme for Versailles in 1678, Jules
Hardouin-Mansart had
built
his characteristic
tour de
la
le
a one-
is
re-
est representee
The
series of
is
completely
is
characteristic
(1676)."
built for
We
may
of indeterminate ex-
is
in the
Madame
if
more
have been
Still
de Montespan
how
Versailles
zero. In
would
1679 he
built
171
Grand Trianon
Versailles,
engraving).
(engraving by Perelle).
cen-
tralized pavilion
phasized main axes. "Extension" was achieved by two lateral rows of small
pavilions for the courtiers,
which created
sys-
vi Apartment tin
vetme
nenJvusU
l
1\ar#rr*drftiff*f Coupe**
Btu Partertf >/< /i V Brtpo
lienrtuurdf tr*Hfaot
.
j tir
lumle
Vapud*
Wis
fUtatft
i/nt on
**--'
/><".<
'
"<-<
a straight entablature.
flat
Hardouin-Mansart had
principle,
To
classical
by
i.e.
he
which
em-
Jules
is
in the repetition of
He
is
common
being
with the
classical ideal of a
classical, the
to the twen-
how
the Baroque in
many ways
prefigures
modern
architecture.
Conclusion
The
"levels" of
nature.
axis
Baroque palace
human
Common
life:
movement
is
continuous movement
to Italian
is
building and
its
environment
The most important design problem was the transition from one spatial
domain to the other. In Italy the Baroque palace kept its enclosed blocklike
form, and the transition from the urban environment to the "inside,"
therefore,
became
ed
as a result of the
as
The
to the
less violent, as
its tradi-
nature was
a different
domain.
symmetry of the
character.
From
layout.
The French
It It II I
*
jji.,.,.1,.
still
BST
wwhi'
For about
fiftv years
'
*<^
ji
ffi
'~-x
mTTTrn
rrrrrrr
cation that ended with the uniform, repetitive structures of Jules Har-
therefore, tended to
become
transparent skeleton
The
plastic frames
and
in Italian
in fact, is of decisive
palace.
importance
The French
new concept
pal-
of com-
European humanism.
6"
173
Chapter Five
duced
Introduction
at
we emphasized
the
common
common
ment having
a stronger
We
how
common
form.
main
The common
basis,
in
many
life.
We
have, in fact,
al-
great diversity.
determinants: physical, personal, social, cultural and historical. These factors obviously are interdependent,
separately.
The
but
may
pography, resources,
etc.,
is
The
is
The
The social
may refer to social differences or to a way of life common to the
members of a particular group. They determine the more general prop-
axis.
spatial extension
works of others or
left his
The cultural
which express
in ideas
factors consist
vertical axis
around which
in the
works of Giacomo
We have, however, demonstrated that he had a real inventive power, making essential contributions to the development of the
palace."'
signs of Carlo
of
de-
(1597-1603), which
tinctions
is
tail.
dis-
dominant
factors
was organized.
erties of a "milieu,"
values.
many
after 1630,
a lot earlier.
We
point of departure.
main works
its
manifest quite
and
It
This
is
is
Susanna
in
Rome
are dev-
Thus we
column and
were
lidity,
in the
factors in particular,
we intend
all
human
slight,
whereas
models of expres-
importance.
lazzo Barberini,
multiplied and
combined
in
typical
example
is
Rome
(1644),
where an unsur-
means of
re-
Italy
174
it
triple
is
achieved by
axis.
The
transition
Rome,
drawing (D.A.
264.
Rome,
U.).
Susanna, facade.
S.
were
is,
satisfied
marked by
is
through
be found
is
this research,
in the
first
architectural
work
of
They have,
St. Peter's.
however, grown to giant size "expressing symbolically the change from the
simplicity of the early Christians to the splendour of the counter-reforma-
tory Church, implying the victory of Christianity over the pagan world.
"'
The twisted shape also resolves an important formal problem. Straight columns would have looked like diminished versions of the immense pilasters
that constitute the
main order of the church, and would not have given the
necessary emphasis to
column represents
its
The
twisted
"normal"
col-
umn, and the baldachin thus manages to dominate and centralize the
grand space by which it is surrounded. Above the columns, huge S-shaped
scrolls rise to
ved
have reason to
at
as
sidered
"il
Its rich
and persuasive
is
a simple, integrated
The Baldacchino
than added
whole characterized by
We
who
It
later designs,
in the
prominent
walls, thus,
works, in
fact,
aim
at
which have
cation
is
seem
less
than the
to
He makes us
realized
In the works of Francesco Borromini (1599 - 1667), on the other hand, the
irrational, "synthetic"
content
is
175
.*
"'
ttjVF J
HBl'-i
I"
fi
"Cj
Jf
-<V
v^,f
.L3MK
.
IS
MH
I
pi
\i
.jST""*
v$M
4 afcf.s
Rome,
Rome,
SS.
St. Peter's,
Ba/daccbino.
and
spatial
He
plastic continuity.
new
This
acters.
tioned so
two works that have not been menthe unfinished campanile and dome of S. Andrea delle Fratte
is
far:
particularly evident in
Andrea
delle Fratte,
drum
closed
and en-
static
in the
adding
By
its
The dome and campanile of S. Andrea delle Fratte thus represent an eminently Baroque focus that participates in an extended "field" of spatial relations.
romini
tention
The Spada chapel illustrates better than any other work how Bormade space the protagonist of architecture. Instead of focusing atupon
a plastically
modelled
altar,
and
at
the
is
tain "objectification."
appearance
its
inlaid
is
extremely simple
it
real,
at a cer-
through
ir-
in
The
had
ideas of Borromini
certain following.
Some
architects
adopted his formal means without understanding the revolutionary content of his works.
95)
typical
lation.
His masterpiece
is
example
else,
is
more
original
new
articulation
As
a typical
however profound,
example, we
may mention
is
in-
con-
element
prehensible.
who
synthetic "char-
The
window
and truly
architecture.
articu-
rarely directly
in
per-
com-
of the Collegio dei Nobili in Turin (1679). This aspect of his work,
therefore,
had
little
following.
in-
genious but rational systems of spatial extension. Like Bernini and Borromini, thus, his basic aim was an objectification of the irrational, but
Roman Baroque
architecture, Guarini's
to
any par-
177
ti
Ha
rbebs
178
Rome,
Roman Baroque
through
ter,
all
we may mention
even
forces
It is
present
ought to be understood
plasticity
is
and surface.
integrated.
Roman charac-
plastically
mem-
seems eminently
la
alive.
Sacchetti (1625-30).
his later
works
is
This
is
first
that create a rich, vibrating play of light and shadow. In general, the Villa
columns and
dome
for S. Carlo
is
dome
may be considered
thus,
and
into an act-
Baroque rep-
making the
tradi-
and
transformation.
In spite of the central importance of
Italian architecture,
some
Rome
in seventeenth-century
We have al-
(1584-1658)
who continued
we
This
first
Amedeo
(1610-83)
Rome and
Paris.
is
stamp-
ed by French rationalism.
pronounced
local character
is
found
in Venice,
where the
traditional
Baroque
light
179
268.
Rome,
detail of
180
S.
drum.
Andrea
delle Fratte,
XXI. Rome,
Baldaccbino.
St. Peter's,
XXII. London,
Cathedral.
St.
Paul's
269.
Rome,
S.
Andrea
delle Fratte,
campanile.
S.
Rome.
Spada, interior.
271.
Rome,
S.
Girolamo della
of wall decoration.
v>cs|s>o
181
Rome,
engraving).
Rome,
and dome.
Palazzo Pesaro.
S.
Rome,
Gervais, facade.
The Baroque
tion.
eighteenth century.
in versatility
tal-
ent.
by
the
mediocre,
classically-minded
Fontana
Carlo
(1638-1714).
the church as the leading building task. Except in Turin, the environment,
therefore, does not possess a systematically organized horizontal extension. It
is
i.e.
"society,"
is
whose
expressed by a
plastic form.
France
In France the process of centralization was stronger than in Italy.
tain regional activity existed
artistic potential
up
A cer-
monarchy by divine
1
architecture.
It
right,
The driving force was the idea of abresult was a new kind of state
and the
We have
and have
how
regional
The
Italy.
in general,
employed
a formal
infinitely
fact,
plastic
more
"classical."
Such
in question.
a useful
concept
if it
de-
The
typical
French approach
is
St.
Gervais
l4
in Paris (1616)
showsa
is
ings as well:
was used by
we may
De
15
in a simple
formula the
movement
in
tury architecture.
The
secular
works of
De
Brosse
still
show Mannerist
France).
traits,
regularly
means of
contradictions typical of
De
extended rhythms.
the century.
and subtle
makes the
are characterized
Although
also
by
His works
a restraint that
his articulation
highly
is
ations inherent in
a rational,
Few
personal. In the facade for the church of the Minitnes in Paris (1657) the
ability of
Mansart
is
clearly evident.
been solved
Agnese
in Piazza
"
The problem
in a
way
of giving emphasis to
as
combined to form
a well-balanced whole.
the en-
trance to the church also terminates the axis of the Place des Vosges, so
that a highly original integration of building
is
achieved.
In the works of Louis
similar problems.
The
a different
dome marks
approach to
when we compare
(Institut
the
de France) of
lateral extensions. In
Le Vau's build-
by means of
A general continuity
'
is
vol-
maintained
practical dwelling.
He showed
a particular
demands
Mansart
The
The intervention
say a few
final solution.
The
Over
a closed
typically
we ought
to
Louvre
is
French
classical architecture.
is
The
Le
282. Antoine
Pautre, Paris,
first
remind us of
Roman
temple and
combined
to create an ac-
more masterly way. Who, then, was the creator of this magnificent design?
The general layout obviously goes back to a project by Le Vau from 1664,
and, in fact, the characterization of the five wall sections corresponds to
the typical disposition of his other buildings, and in his
the coupled order (Hotel de Lionne, 1662).
The simple
work we
also find
classical
grandeur
of the final solution (1667-68) has been proved to be due to his pupil and
collaborator, Francois d'Orbay (1631-97).
le
more
classical direction,
his
Hotel de Beauvais
in
The
transition
by
is
converge
is
emphasized by
at
an aedicula
at
circumscribed by a
is
The
general disposition
for plastic
and
is
crowned by
among which
whole complex
We may assume
rises
up
varied spaces.
bi-axial
organism
that Bernini
is
knew
cir-
The use of degagements is very progreswhole the plan has a somewhat theoretical character. The
a series of
but as a
The grand
through
spatial systemati-
The
derived
and the wall articulation follows the usual scheme of Le Vau with
giant order
sive,
is
a central ves-
Hardouin-Mansart (1646-1708).
He
is
Jules
Dome des
more
Invalides.
"He
ed
skill in
when
was
it
call-
for,
profession.""
style
is
to consist of
two
stories,
the ground-floor for the courtiers and the public, and the upper-floor for
communication with
manner
his apartment.
Hardouin-Mansart
on
account of the clarity of the design, but equally because of the relation bet-
full
over his
self-assurance
story.
followers,
The King,
at Versailles,
French
culmination point.
give a
so to say, rises
content
With
that
is
em-
the Louvre
classical architecture
fa-
reached
consummate concretization
of
France.
During the
still
had
first half
a creative
impulse, as
of Francois Mansart,
and space was not only experienced as an abstract extension, but, in the
way,
Italian
as a
Domes tended
form was
ideal
The
a neutral hall
of proportion,
were emphasized,
churches
to disappear,
as a
and the
primary focus."
in particular
problems
and
The approach
who wanted
he
said: "...proportion
this
is
a constant, stable
full
vigour, but
been retained
it
initiated an
"academic" approach
Spain
Spain experienced
under Philip
II.
its
Under
Philip III,
vantes'
Don Quixote
for the
development of
1605).
duced
The
to
in the sixteenth
military and
its
century
to 1621, greatness
economic
expression in Cer-
a true
secondary importance.'
re-
was
187
interior.
(engraving by Perelle).
285. Antoine
Le
St.
Denis
{from Le Pautre).
it
Spanish
as far
state.
back
The
It
It
large,
and
it
many
ancestors, going
became
model
for the
Jones (1573-1652). Jones had visited Venice between 1597 and 1603, and
in
Italy.
In the meantime
(1609), he had also visited Paris. Jones' formation, thus, took place before
his
From then
way
or another, in En-
glish architecture. It
movement
depth
is
as well as centralization.
in
Roman
church.
More
interesting
is
motif that
new
richness that
continuous surface
it
initiated an im-
The development
Maria Magdalena in Gra1677. Here a bi-axial nave
England,
perienced
poraneous
Roman
we may mention
churches.
dome,
contem-
Among
longitudinal oval
is
inscribed in a rec-
eenth century. The space ends with a camarin, namely a space above the
altar for the display of the sacrament."
which represented
a variation
Even
it
reached
illiterate
people of
a foreign civilization
could "under-
It is
We find,
civil
tinent
its
own life.
isolated.
Queen
Elizabeth,
architecture remained
more
spirit of revolution,
and
in their
He
attachment
to
it
in a
new
age, to a
new enlightenment.""
The
House
first
stories.
The ground-floor
is
rusticated,
and originally had smaller windows. The higher piano nobile has
a simple
The
tall
The
windows and
and create
ticulated
had lived
in the
Chamber, employing
Up
England from
its
more com-
own kind. Although the country exdecapitation of its King, we may still talk of a
their
tall
joined to a dominant,
The
thinker.
clearly
is
find neither a
plex totality, which also included the burgher, the merchant, and the free
we
in fact,
silica.
by two
26
axis.
a giant
tiers of
is
is
is
pilasters above,
new
Star
monumentalized
in the
Composite
made
(1619-22) which
In 1617 Jones
articulated
and
is
ar-
Roman ba-
Banqueting House
bi-
circumscribed by
a cantilevered gallery.
Originally an apse gave direction to the space, which has the static propor-
Queen's House.
of
London.
r'Bl
20
10
^u_r
>
Q
l
>
C?
USH3M
y-
]m[flfflnf|HBBBSDP
<?zJ
5
10
as ikjnmnmDDD mEdgcsgaoBPsg
191
Paul's Cathedral,
model
of
first
project.
The orders
of the
two
bays are
tiers.
Coupled
pilasters
a rusticated surface, a
House seems
any sense of
lost
is
found
Lindsay House
in
at
on the church of
. .
as a
Tuscan temple.
. .
rusti-
the
"It
is
an ex-
by the Civil
over a low
rises
ry
similar
St. Paul's
traordinary performance,
conflict.
magnum
opus,
was stopped
a large rectangle,
somewhat
The
its size.
ar-
lived to build
it,
the
helped to precipitate."
it
topher
as
split into
Society
certainly have
would most
in 1662.
two
Wren
member
dis-
first, Chris-
started
of the Royal
in
The Louvre
less
he wrote: "I
for a while
was
Abbe Charles
me
a letter
introduc'd
me
to the
have given
my skin for..."
After
would
few days, more than thirteen thousand houses and eighty-seven churches
fire, as
change serving
a
as the
main
focus.
to the
streets leading
streets,
from Ludgate
in the
had
west
XXIV.
detail of fa fade.
297. London,
St.
Paul's Cathedral.
(D.A.U.).
299. London,
Walbrook,
St.
Stephen
interior.
M M
Hague, Mauritshuis.
302. Diagrams of plans of Dutch
Protestant churches.
The
took too
it
little ac-
to re-
Wren
works,
The Royal
he built fifty-one
churches, mostly designed in 1670 and shortly afterwards, but only a few
layout, but the articulation continues the simple classicism of Inigo Jones.
them were
of
really
designed in detail by
Wren
all,
which should
to the steeples,
ing houses...
may be
rise "in
aisles. Particular
Ornament
of sufficient
traits into
Among
is
given
classical,
They show
posed.
Town."
to the
attention
Walbrook (1672-87)
rep-
dome
that rests
The
result
is
compromise between
synthesis, only
much
larger scale. In
The
enclosed,
is
main center.
Wren makes
his spatial
walls.
is
is
centripetally
The
is
also de-
(1675)
final solution
domed
is
also
a structure
weaker than
it
to
a rather
center.
is
and
Stephen Walbrook
St.
to.
The
Hospital
at
an axis
opening on the river Thames. The transition between the two spaces
marked by
tall
nificent variation of
relation
tain affinity to
makes
it
The dome, on
194
it
Two other
is
mag-
a cer-
architects
who were
his
is
War in
in
hind each other on the main axis, and in Clarendon House in Piccadilly (1664-67)
he combined
a simple "Pal-
ladian" articulation, creating a type that was imitated far and wide.
May
Hugh
The Netherlands
During the seventeenth century, the Netherlands was the most prosperous
country
in
Englishmen
cities
grew
in
in
importance and
relatively decentralized
regularity that
is
population.
The design
means of
falls
hall.
is
articulation of the
or-
at a solution
of columns, and the towers are well integrated with the central part by
a
extended
ganism. His most interesting design, however, was for the Royal Naval
superimposed on
is
spaces on
exterior
clearly derived
domed
axes,
his project in
The
ject.
is
but smaller
project
St. Peter's,
Palace,
Wren's and
tegration, thus,
Paul's,
1673 he presented
In 1683
The burgher
a general
Nieuwe Kerk.
simplicity of taste.
No wonder, then,
movement in England.
By 1600 Amsterdam had become
country.
It
was
di-
He
three canals" that forms concentric rings around the old urban core. Sites
for local churches
who made
monumental
town houses
for merchants,
radial
the three concentric canals, the plot sizes averaged twenty-six feet front-
A maximum
The
site
coverage of
Am-
in existence.
new Town
in the
Hall
in
officially recognized.
ing
shows
pronounced desire
for systematization
stories.
The
result
is
is
ar-
repeated
is
its
The Hague (1633), built by Van Campen for Prince Johan Maurvan Nassau. The simple, almost square volume is articulated by a colos-
sal
itshuis in
to the facades.
is
define the main axis, and the outer bays are characterized as rudimentary
usual elements of the seventeenth century palace, but they are indicated
rather than emphasized.
"Palladian";
The
it
The
classicism of
Maastricht (1659-64).
related approach
is
also
whose Trippenhuis
in
is
is
usually called
call it
his pupil
the
found
"Dutch."
and
Town
in the
col-
Hall in
works of
Amsterdam (1660-62)
gives a certain
the
195
Netherlands.
Amsterdam from
of
mention
instance,
Zuiderkerk
the
(1606-14)
more
the
we may,
for
Westerkerk
by Staets shows
and
The plan
is
Greek
Within
nerist with
The
detailing
is
Man-
and
is
(d.
The church
is
Van Campen
The Hague
(d.
consists of
in the
all
ism
is
as a
continuous
A regular succession of
"shell. "
The
interior
is
we should mention
the Nieuwe
Amsterdam (1668) by Adriaen Dortsman (1625-82). Here
the plan is based on the circle. A main domed area is surrounded by an ambulatory along half of its periphery, creating a somewhat theater-like
space. The articulation shows Doric (Tuscan) columns in the interior and
pilasters outside. It is apparent then that the Dutch Protestant churches
pulpit
is
Lutherse Kerk
in
it is
employed are the basic geometrical elements: square, octagon, Greek cross,
double square, and
circle. It is as
same gen-
eral type: a static, centralized space that satisfies the desire for self-evident
clarity
and
regularity.
Calvinist ideal
built-
is
Lyon
(Fleur-de-
lis,
Protestant churches. Later, Calvinism became the religion of the commercial city-states
where
its
mon
defense.
The
its
The
In spite of
its
also united
by
Baroque
esprit
is
de systeme.
Scandinavia
an absolute monarchy.
re-
we have found
in
197
307. Munich,
St.
Michael, interior.
On
cities,
thus, there
It is
was
Italian.
tioned."
577- 1648)
plans.
it
Exchange (1619-30),
He
War
first
as the un-
put a stop to
for
planned an octagonal
little
of in-
to full
first
change
is
cisive
to
have
la
Vala de-
in
Sweden.
Back from
in
Stockholm
Jean de
Italy in 1650,
as a
Roman
la
development of the
style of
De Brosse.
In 1659,
in 1653.
Vingboons
is
De
la
Dutch merchant,
Town
Czernin Palace.
Hall.
"am Hof.
-'11 1 WW
show
Italian traits.
is
lation
Mausoleum,
in
honor
magnum
in
is
classicism,
solution
is
double corps de
ticulation
The
is
logis
with corner
ressauts
ar-
all,
somewhat conserva-
tive character.
It
major works.
its
tect
Rome
An
archi-
(1673-78 and
and 1687 he also visited France, and studied the works of Le Notre.
first result
'
As the
Royal architect of the young and dynamic Charles XII, Tessin got
many
Stockholm, which was started soon after his return to Sweden in 1688. Because of his interest in religion, the King
690 he
also
first
shows
is
lier
a large
wanted
new
palace
new grandiose
all
ace
of
building ready.
new Royal
few years
ear-
Palace in Copen-
Its character,
Palazzo Chigi-Odescalchi.
a
still
a large
square
block,
The appearance
of the building
The
The
that of a unified
Louvre.
To
is
was intended
as a place royale,
where Tessin
Roman
tension.
in character,
is
lacking today.
The wall-articulation is
em-
mill
itr~ '-:
ill
iiiiiittffiiii
Theatine Church.
without doubt
is
side wall
is
which forms
history.
monu-
Roman
a gallery
Hans Alberthal
The monumental
the Jesuits:
In his
own
Royal Palace on
by
larity,
narrow, irregular
classical regu-
plasticity or spatial
Roman
character.
we
corps de logis,
sides
find a
dynamism.
is
Two
movement
and
truly
it
Baroque space. In
Baroque
accompanied on both
It is
Alps.
ter.
thus,
would be
more
fascinating
unifies
Roman and
difficult to find a
a highly original
manner,
it
European
its
creator.
level,
With
perhaps for
Years'
War
it
was
It
was
The
built
by
building
Elias
is
a curious
this
combination of
tall,
medieval burgher's
Roman and
is
awkward
articulation,
a Stadtkrone.
Bohemia the war had already ended in 1620 with the Catholic victory
White Mountain. In 162 1 Wallenstein started the construction of a
large city-palace in Prague, with the Italian Andrea Spezza as his architect.
In
at
the
The most
Hans
creates an efficient
The Thirty
Europe.
in Central
many before
The garden,
in
most impressive
portance for the development of the great sacred architecture of the Late
The exedra
due
Eichstatt
niche, which,
tall
seemingly infinite
two
the
who
Behind the
an integration
initiated in St.
1575-1657),
(c.
Dillingen (1610-17),
41
(1619-21).
that a
wall-pillars. In general,
the
is
remi-
basilica.
mental center for Stockholm, with a new cathedral across the river on the
between the
is
large Hall,
is
is
interrupted to
make
the vertical
mem-
bers appear as separate units, forming together with the vault a large
Central Europe
The Thirty Years' War (1618-48) indicates the confused situation of the
Germanic countries during the seventeenth century. Before the war start-
role in
ed, however,
we
movements
fully
developed
German Baroque
resumed
its
monu-
44
College) in Prague
is still
Mannerist
in the splendid
a significant
way by adaptation
placed inside rather than on the exterior of the building. In the Church
200
pillars.
is
con-
on such
system
ses,
in
sal
transformed in
(Jesuit
but towards
The architecture of the Counter-Reformation was introduced in Germany with the Jesuit church of St. Michael in Munich, built after 1583 by
an unknown master. The wide nave is clearly related to II Gesu, but the
is
Klementium
in character (1654-58),
Between them
tall
The out-
1679),
who probably
first
(d.
true colos-
order in the city (1660). Later Caratti built the immense Czernin palace
With
is
repeated ad infinitum to
'
of
is
Mathey
is
"
313.
Domenico
Martinelli, Vienna,
Liechtenstein Palace.
(contemporary engraving).
315. Andreas Schliiter, Berlin,
Kamecke House.
Greek
The
combination of lon-
Roman
detailing re-
classicism.
momentum
is
cross,
somewhat
later,
the church
Turks
is
is
Mannerist wall
ar-
Martinelli (1650-1718),
tant
in 1683.
who
settled in
Vienna
in 1690.
in
Vienna.
It
is
initiated in
the
first full-
add
to the spatially
Roman
The garden
was confirmed by
his palace at
the
who
Andrea
facade,
is
Agostino Barelli
Munich
(1663), us-
della Valle in
creating
Rome
in
as a model.
'
to an articulation
by fluted
to
a
half-
all
51
who
also designed
Europe
Italian architects,
gether with a crowd of Italian masons and stucco workers laid the foundation for the great Late
Before
tect
who
we
conclude,
we
German
archi-
Schliiter
202
The
is
main
axis,
lar-
clearly influenced
work."
and
on
all
environmental
ticular
landscape
to erase the
levels.
became the
real protagonist of
principal level,
in question, par-
levels.
In France, thus,
city re-
new
ment, and
Conclusion
The Baroque
"styles" of
is
European
art.
we remember
the
at
by Bernini's
is
in particular the
was
spatial articulation
di-
ele-
essential.
a rational
be modelled and that interacts with the surrounding spaces. Italian Ba-
How,
system. But
fact,
then,
many
is it
epoch.
we have
common
al-
of the
traits
tried to
To
spatial.
describe these,
more general conwe have used two types of concepts: psychic and
All the
suasion, participation,
and
transportation,
and
terms of
in
per-
common
initial
choice,
we may
we may
philosophical systems.
all
great
art of the
Baroque is
all
The work of art in its totality becomes the symbol of the universe,
form organism alive in all its parts. Each of these parts points,
204
its
being.
as a unilike the
"intelligent"
more
"
of Italian architecture stems from the interaction of space and mass, while
French architecture
is
traits as
tem was
less strongly
developed, so that
is
We
we do
sys-
As
a concretization of centralized
we may
a set of particular
talk
this history
possibilities.
In
place, as a system
therefore help us to
NOTES
CHAPTER ONE
"Descartes, op.
'The
E. Cassirer, The Philosophy of the Enlightement (1932), Boston, 1955,
-'Alberti
2.
Do-
difficult technical
monolith was
in opera.
-<G. C. Aigsrn,
LEuropa delk
p. 138).
Man
on the Dignity of
Discourse
is
cit..
obelisk was erected to define the primary place of the city, the Piazza S. Pietro.
first
p. 39.
Capitali 1600-1700,
Geneva, 1964,
45.
p.
Man
is
used here
re-
(ed.
member.
J.H. Randell Jr.),
4
Chicago, 1948.
-"Argan, op.
Goethe
cit., p.
calls
deckung, die
Mensch gemacht
der
je
-"P.
:
1832).
57.
p.
239.
p. 136.
1955,
1968, p. 54.
T.E.
on Method,
don, 1738.
p. 19.
See D'Alembert's "Discours preliminaire" to the French Encyclopedic (17'511 where he distin-
"'An exception
is
Pietro Cataneo
who maintains
be cru-
own
guished the interest in the system as such from the esprit systematiquc of his
new
new means
I,
century.
"See
in
Thus Galileo
says:
"Non sono
avendo mai
men
Iette le
nobili, piu
men
la sferica
croniche e
il
ma
perfetta,
Cielo
come corpo
ma
l'istesso Aristostele...
le
perfette;
io
ed
non sieno ne
io
non so quale
a
quanto
"There are
may
l:
un modo, o per
dir
notice that these authors were not professionals in the ordinary sense of the word.
p.
108.
how
in Italy
turalistic"
Blunt, Artistic
and "literary" images, whereby they possess the two basic Baroque characteristics
].S.
Academv
attitude
"With
is
tectural system."
who
achievement and
its
"A good
Rome,"
also:
account
in Space.
is
briche
dal
cit., p.
fifth edition,
Rinascimento
"Giedion, op.
al
1870,"
in Topografia e Urbanistica di
ff.
See
Roma
93, translated from Delia Trasportazione dell' Obelisco Vaticano et delle Fa-
"Sinding-Larsen, op.
W.
Domenico Fontana,
the ancient Via Lata, whereas the one to the right, Via di
407.
di Alberti," in
cit., p.
Acta ad archaeologicam
et
artium
ff.
240.
Lotz, "Die ovalen Kirchenraume des Cinquecento," Romisches Jahrbuch fur KunstgeBk.
7.
et Supellectilis Ecclesiasticae
205.
in
"SeeC. Galassi
1Y.
in
noi...
edifichiamo
li
Templj che
si
assimigliano
5)
stile dei
legge, ne
Gcsuiti
prevedevano regolamenti
la
"Argan, op.
cit., p.
'"Basilically the
(p. 39).
ff.
106.
church
is
Roman
city,
God."
Antiquary. The
villa,
You
tell
in
my
Villa
Or
read, or
Alberti, op.
"Giovannoni, op.
1,
What
1958).
(Rome, 1590).
Ripetta,
G. Giovannoni, "Roma
(Storia di
'-'SeeC. Norberg-Schulz,
II,
ff.
piante, o
of Architecture in 1671.
"The
203
luce che le costituzioni dell'Ordine in merito alia costruzione di chiese, collegi, convitti ecc,
designed the facade and the dome. About the same time Palladio recognized the basilica as the
systematic structure based on an "axiomatic" theme, and persuasive expression. See A. Schweitzer,
pp.
ding-Larsen, op.
cit., p. 14.
Theory
Rome, 1965,
and Guarini,
"Some
Sinding-Larsen,
"See
me, non
but we
S.
Venice, 1554.
chitettura,
of communication.
III (1584).
is
cit.
wanton
IX,
in the
Muses Train.
ii.
Magnifico (1480).
renzo
il
"I.e.,
(?), c.
205
by Bernardo Rossellino
(c.
1460).
The
real villa
century.
vona
"Alberti, op.
cit.,
V,
"Alberti, op.
cit.,
IX,
Roma"
fontanedi
(lateral
already before the pontificate of Sixtus V: Piazza Colonna (1574), Piazza Na-
fountains 1574-76), Piazza della Rotonda (1575), Piazza Mattei (1581-84), Piazza
xviii.
Chiesa Nuova (1590), Via del Progresso (1591), Piazza del Quirinale (1593). See C. D'Onofrio,
ii.
Roma Rome,
,6
Le Fontane
4;
A. Palladio, op.
cit.,
11/12.
is
"Alberti, op.
cit.,
"The Viennese
IX,
the French hotel, which represents a different relation between the building and
its
environ-
ment.
5
52
M Le Corbusier,
New
found
in
any other
Roman
cit.
in his
fundamen-
London, 1961.
its
many
erection (1539)
York, 1966.
"The
first
pp. 76
cit., II,
G. Rainaldi
in 1654.
ff.
'The
distinction
lian"
as
it
may
in certain cases
De Architectura,
"Vitruvius,
I, ii, 5.
p. 29.
See E. Forssman, Dorisch, Ionisch. Korintisch. Sludien liberden Gebrauch der Saulenordnungen
"Serlio, op.
cit.,
Stockholm, 1961.
'The
Existence, Space
cit.
Tubingen 1967,
p. 104.
human
beings;
The
it is
Langer who
says:
a system of interlocking
architect creates
New York,
1953,
ni
project
who
XIX, No.
2,
Barocca,
Rome, 1966,
p.
277.
Full Baroque,"
The Art
June 1937.
attic,
which was
later
omitted by Berni-
277.
cit., p.
lateral
traffic.
its
"A
culture
and
inter-
image; a physically
human environment
Paris,
is
Roma
Bulletin, Vol.
made up
IV, preface.
present
II
188, 191.
is
is
2.
58
however, shows
See H. Siebenhuner, Das Kapitolin Rom, Munich, 1954. Also, J. S. Ackerman, The Architecture
of Michelangelo,
L.C. Sturm, Vollstdndige Anweisung alle Arten von regularen Prachtgebduden nach gewissen Re-
geln zu Erfinden,
56
plan,
Christian emperor.
This problem has been brought forth with great emphasis by Robert Venturi
tal
1957.
'Fontana, op.
is
The
building.
ii.
city-palace, thus,
di
p. 96.)
to
nell'arte,
"The
P.
final plan
was ready
Romano and
in
1812.
P. Partini, Piazza
Navona
nella storia e
Rome, 1944.
history of S.
Agnese
in
to
123
when
new church on
the spot.
When
vir-
the foun-
dations had been laid, Borromini took over (1653) and changed the project considerably. First
of
CHAPTER TWO
all,
putting the
'For a comprehensive survey, see E.A. Gutkind, International History of City Development,
New
20
Villa
in this "star,"
having
its
main entrance on
the piazza in front of the apse of S. Maria Maggiore, from which a trident led through to the
It
was
built
was destroyed
Lorenzo
added
For
It
4
a fourth
nineteenth century.
S. Trinita dei
member
S.
Monti
railway station.
built. It
S.
would have
was
in
from
A considerable
206
by Domenico Fontana
in the
fuori le
street leading
also
high drum. But Borromini was put aside before the church was finished,
group of collaborating architects took over (1657). G.M. Baratta designed the
bell
towers
and Carlo Rainaldi the lantern. See E. Hempel, Francesco Borromini, Vienna, 1924, pp. 138
York, 1964.
garden.
and
dome on
number were
by Giacomo
S.
Giedion, op.
della Porta
cit., p.
99.
"Architetto delle
cit.,
pp. 201
ghesi, "S.
Maria
For
ff.;
also R.
comprehensive study on
S.
Maria
ff.
ff.
ff.
"S. Maria della Pace also shows several characteristic details which were to be absorbed by
Late Baroque architecture such as the soft swelling triglyphs of the parapet on both sides of the
church.
2
The project
24
For
is
known
to us
p. 193).
complete history of the project see H. Brauer and R. Wittkower, Die Zeichnungen des
Gianlorenzo Bernini, Vienna, 1931. Also C. Thoenes, "Studien zur Geschichte des Petersplatzes," Zeitschrift fur Kunstgeschichte, 1963.
;,
The
oval
is
*Codice Chigiana H.
2:
See R. Wittkower,
cit.. I, p.
circles
14.
Measure
solution
196x 142 m.
inside:
"II
of the piazza retta was suggested by the existing Vatican palace. Bernini,
a
given condition,
just as
hundred years
earlier
11
sisting of a series of
is
as con-
rows of
Two of
An
,LI
Roman
pp. 75
to slightly
Copenhagen, 1950,
Belvedere,
Rome
is
its
XIV.
in
to those
who
built behind,
who were
for
ff.
p. 44.
20,000 inhabitants
s,
in
Amedeo
son
"The Roman
di
preserved, the Porte St. Denis by Francois Blondel (1672) and the
still
and given
lo's
"We have
For the urbanistic history of Turin see the magnificent three-volume opus by A. Cavallari-Mu-
Rome, 1962,
self,
rat,
"We
we should
Vienna.
153.
p.
45.
amounted
Porte St. Martin by Pierre Bullet (1679). Both are decorated with reliefs representing the victories of Louis
when he planned
*Argan, op.
related to buildings.
"We may
saints.
Vendome column
advantage of
in this
tall
22.
ff.
thus, took
II,
48
:<
is
in
in
Castellamonte (1610-83).
solution, however,
is
1700.
It
in
believed to represent Constantine. Pierre Lavedan forgets the Capitoline Square and explains
1
the place royale as a unification of the Italian Renaissance square (e.g. Vigevano)
The
in
statue
in 1720.
The group
in
is
left
Church of
S.
Lo-
128.
p.
"The
"The
renzo which
dan, Les Villes Francaises, Paris, 1960,
to the SS.
dome belongs
tall
in
1604 and
finally put
up
du Luxem-
in
built of
"The development
tions (1662)
islands
of the
He
St. Louis,
and the Louvre, and the different projects for symmetrical squares
in 1765)
"The
in
of Turin.
in this con-
,T
The base
,B
"The
Porta di Po was demolished during the Napoleonic period together with the fortifications
may be mentioned
nection.
'"Covent
fire in
down
after the
It
forms
The
French Revolution.
is
clearly derived
is
p.
generally assumed,
had been
in
M Cavallari-Murat,
in Paris.
was made by Claude Chastillon and Jacques Alleaume, who together with Louis
Rome. See
op.
cit., p.
p. 94.
""See
lo
fields the
period
is
1282.
1036.
Turin
in 1584. In
1596 he made
Mondovi.
Emanuele
11,
de Louis
siecle
'-'Bourget
cit., p.
cit., p.
Turin, 1674.
239.
1050; op.
decisive contribution to the planning of the great pilgrimage church of Vicoforte near
XIV
',
is
Paris, 1967.
in 1697-98.
In spite of this late date, the architect B. Alfieri kept surprisingly close to the spirit of Vitozzi
project
in
cit.,
pp. 113
ff.
dell' Arte,
Francois de Sales, St. Vincent de Paul, Cornells Jansen; in philosophy, Descartes, and in litera"4
ture, Corneille.
"Man
sucht also dreierlei: das Schmikkende, das Wohnliche und das Natiirliche, eine Trilogie
"The word
flat
'''See
"As
the
exact.
scheme had
They have
since disappeared,
tectural coherence.
little
at the street
high.
The
relation thus
is
1:5, in
ff
is
P.
is
not
its
E. de Ganay: Andre
Le
H.M.
archi-
figures in chains:
douw
symmetry
M.
The diameter
p. 36.
top of a rampart.
Kings.
Thus we
find the old motif of the "cardinal points" integrated in the scheme, symbolizing the
le Prestre
207
CHAPTER THREE
in
Few
Rome,
Baroque movement.
2
With
complex process.
ture a
We do not
possible to struc-
it
frieze are
it
achieve a certain vertical continuity between the crossing and the dome.
chitrave and frieze indicate the beginning of a tendency towards a
tion.
was
idea that
al
is
The breaks
more general
in the ar-
vertical integra-
Corso (1612),
Maria
S.
A project
in Valicella
Borromeo and
The
ples.
was made
in
S.
Ignazio
dome
1600.
289
The
later
Giacomo
della
execution by Ma-
made an
Andrea
21
large oval
(c.
1560).
The
stamp of
Maderno repeated
in 1723,
influence of Michelangelo's
dome
ff., is
after 1728.
incorrect.
The
by G. Spagnesi
in
S.
Maria Maggiore
Maderno had
a different
plan.
-'-'R.
2J
La Chiesa
di S.
in Italy
p. 119.
Annunziata
in SS.
in
that
transverse pseudo-oval, namely a rectangle plus two semicircles. See Lotz, op.
that he
demolished
2,
c.
pp. 55
ff.
we should mention
1654 by Borromini).
-'"The walls
in the
based on
is
cit.,
Italy,
1600-1750,
p. 120.
widening of the
street in front.
"The longitudinal oval appears in the chapel attached to the Louvre in his third project.
in
zenhofer (1685-9).
re-
'"In
'"Sinding-Larsen, op.
cit., p.
Argan, op.
cit., p.
ff.
"The
nave
As he cannot point
OH.
si
intelligenza critica..."
il
St.
Antoine,"
Blois,
idea of using a simple aedicula for the facade of smaller centralized churches
may be
traced
Maria
in
solu-
any
''The church was finished only in 1747 and demolished in 1823.
"It has
120.
tery has
alia
been added
to the
main
in
some
space.
The
necessita di
dinal axis, however, stems
domed
A domed presbytery,
presby-
a longitu-
was added
to
Fagnani,
5.
is
thus,
a correggere Michelangiolo,
to
Forster, Bramante,
Rue
delle colonne
tion in S.
ff., fig.
ff
back to the "temple-front" of Alberti. Giacomo della Porta attempted an Early Baroque
ff.
45.
The Church
III:
202
presbytery would have been joined to the main space in a similar way.
205.
"Mansart Studies
definitive
is
'"See P. Smith,
12
W.
della Valle.
ff.
S.
II
"Peruzzi already experimented with oval spaces, and Serlio published the plan for an oval church.
plan that was used, however, probably stems from the intervention of
'
''See F. Borsi,
ideas of Mansart, however, did not lead to any creative development in France, although
ff.
'The
Burlington Magazine,
'The
Vignola also
is
The Valde-Grace,"
I:
p.
they
we
these terms
351
1963,
Maderno
G.C. Argan, L
'
Io fa
alia
cupola
il
ma anche con
Maria
di
Canepanova
earliest
attempt
at joining
See
F.
acuta
to our
S.
Maria
di
cone(1526).
"Bernini's proposal to separate the campanili from the facade proper by means of deep recesses
freedom
"The
in plastic
Stare
"Particularly in the
solution. (The idea, in fact,
Mesto
in 1732.)
his front,
however, such
Baroque basilica-facades
was normal.
giant order
is
usually
Even during
found
in
Corso
in
Rome must
be charac-
solution of St. Peter's with one main order plus an attic, however, had a certain following.
208
work
in St.
Palladian solution introducing a giant order to express the nave hardly influenced the de-
sign of
The
cit.
della Salute:
XVI
and Architecture
in Italy
11
cit., p.
in Italy
1600-1750, op.
cit., p.
192.
194.
is
additive.
altar,
church
is
is
is
common
^'Lemercier stayed in
burg (1694-1707)
and the
is
indi-
used to
hotel.
is
from
also derived
Carlo
XXV,
chitettura,
ai
in Salz-
Catinari.
among
general rather than exact. Until the nineteen-thirties, the church was
The
houses.
visible parts,
approach
is
is
found
in S.
bi-axial organization
del Sudario,
<8
Teresa had
47
bi-axial organization of S.
di Paola
is
di
Loreto
way
in
Milan bv Ricchino
becomes
nar-
a longitudinal oval.
also
Rome
is,
S.
Ivo
found
is
a certain following.
Campo by
S. Salvatore in
We may mention S.
Monteporzio
in
Francesco
(c.
Rome.
in Campitelli a
Roma,"
not proceed
beyond the
apse. In 1695,
De
in 1668.
The
''"The following
worked out
its
Lomec
Bohemia,
in
a different vertical
built shortly
al Valli-
development.
We will return
make
change
to the
ed
fits
Borromini's project
a transparent clerestory.
is
at
the point of
and space. These interior and environmental forces are both general and par-
York, 1966,
Borromini,
''"See
well as
on
New
in, as
a fine reconstruction of
ribs resting
7l
however,
it,
p.
88
The concept
ff.
in Architecture,
384.
p.
The
cit.,
(1687-89).
ff.
in the chapel in
ticular, generic
See C. Norberg-Schulz. Kilian Ignaz Dientzenhofcr e il Barocco Bocmo, Rome, 1968, pp. 164
'"S.
help
L'Opera di Hieronimo e Carlo Rainaldi, Rome, 1960. Wittkower has traced the
F. Fasolo,
di built S.
Maria
stretched in such a
*The
basis of the plan see Portoghesi, Borromini nella Cultura Europea, op.
I.
"See
G, H,
in 1660.
cit., p. 5.
before 1700, possibly by Giovanni Santini Aichel. In the Santuario della Visitazione
'"'The
is
outlined.
"A
Plates
"S
IX, 1963.
The correspondence
built in
Borromini, op.
to 1614. Fischer
S.
while Della Porta carried out most of the construction between 1577 and 1602. Borromini's
See E. Hubala, "Entwiirfe Pietro da Cortonas fur SS. Martina e Luca in Rom," Zeitschrift fur
Kunstgeschichte,
Jl
bay of transition
"The
J2
to the church
circular
illustrations
ecclesiastica.
in
in
title
See E. Guidoni, "Modelli Guariniani," Guarino Guarini e I'intemazionalita del Barocco, Acca-
demia
was introduced
in science
by R. Hooke
in his
Mi-
39.
cit., p.
The church was inaugurated on July 22, 1698. The facade was added 1734-35 by Giuseppe
;,
G. Guarini,
7J
The church
Quoted
after
Guidoni, op.
cit.
Sardi.
'"See
Row, Rome,
is
Roma
Barocca,
Rome, 1966,
P. Portoghesi, Borromini,
Rome, 1967,
p.
375.
Rome, 1964,
p. 32.
1600-1730, op.
main
altar
is
pp. 132
who showed
Raumeinheiten nicht
ff.
Munich, 1930.
'Portoghesi, op.
'The
cit.,
cit.,
frontally placed
Plate
cit.,
pp. 50
due
to a later intervention
"Any
space, of course,
fact "visible."
mini, op.
may be understood
pienza in
Rom," Miscellanea
De
Maria
Beispiel: S.
Raumdurchdringung
cit., p. 7.
We have found
See D.
Beispiel der
sie
is
quite conventional.
and "skin."
"
384.
della Sapienza, see
wenn man
the Raumversch-
in 1755.
who characterizes
this
cit., p.
in
by Arcucci.
however, makes
dem
Guidoni, op.
p. 11.
als in
7,
anderen
108,
7s
7s
in
cit., p.
ff.
XXXII.
columns on the
as "eine gesteigerte
melzung
"P. Portoghesi, Borromini nella Cultura Europea,
visit
p. 155.
7,
"Quoted by
probable
ff
della Sa-
back to Guidetto Guidetti (1562), the exedra was introduced by his successor Pirro Ligorio,
ra,
82
Italy
1600-1750,
in
p.
274.
Torino
di
Guarino Guarini,"
L'architettu-
VI, 1961.
For an interpretation of
demia
its
209
'The building was completed in 1680, except for the facade. See G. Brotto, V. Todesco, "S.
Lorenzo
Torino," L'arckitettura, VII, 1961. AlsoG. Torretta, Unanalisi della cappella diS. Lo-
i4
of the
main
axis
was done
segreto
in
"Argan, L'Europa
full
"SeeF.
1691-1717 on
more conventional
The
plan.
was
Santini
Aichel.
'The
Borsi,
11
literature
G. Guarini, Architettura
S8
Forssman, op.
cit.
Civile,
still
'"The design
may
the
CHAPTER FOUR
Drum-Without-Dome,"
in
cit.
King he has
made
Bramante's project
at
in
Granada.
first
important example
was
is
zi,
Giulio
'The
first
'P.
important example
is
in
"See Portoghesi,
op.
cit., p.
(c.
in the
1444-64).
(c.
1450).
-'"The
open
The
"The
solution
tion
is
on
In
some
Rome
more
for
il
is still
found
mini's final solution for the Casa dei Filippini and his S. Maria dei Sette Dolori.
wever, shows a
"The back
new kind
of correspondence
which we have
it
called
p.
The
fig.
239.
in Borrolatter,
ho-
"complementary."
in
1850. See L.
(c.
XXV,
1966/3.
p. 125.
Institutes,
XXI,
il
p.
In fact,
"The
Mansart
F.
c.
was
also
have
"drum-without-dome"
cit.
cit.,
after 1654,
pp.
277
p.
172.
ff.
later closed.
by Bernini's
first
more
free
and he arrives
is
is
to be
it
found
at a
more advanced
interrela-
Customs-house
p. 194.
castle in
to
on the corners,
good view
perposed
classical orders
the Italian,
is
The example
is
means of
su-
"Only
il
p. 92.
building-type, however,
in onore
246.
cit.,
pp. 80
ff.
ff.
1958.
The
project of
De
Brosse
is
shown
The extensive
in J.
use of
rustication obviously goes back to Italian models, such as the courtyard of the Palazzo Pitti in
Florence.
a similar disposition
is
villas of Palladio.
C.L. Frommel, Die Farnesina und Peruzzis Architektonisches Fruhwerk, Berlin, 1961.
210
Prague
215.
'See A. Blunt, "The Palazzo Barberini," journal of the Warburg and Courtauld
'Tn general
1600-1750,
as in in-
not preserved.
Vau and
to a garden,
clearly inspired
palaces, especially
Rome, 1962.
,0
" Antoine
me, 1968,
,2
.
them
present.
254.
Palladio.
the ground-floor, however, a slight echo of the engirdling horizontal continuity from the
''For
Berger,
side, giving
is still
little
in
On
is
Rome, 1961,
preliminary designs by Le
fact,
Palazzo Caetani
Le Pautre's project
attic
crowning oval vestibules. For a discussion of the problem, see Berger, op.
in Italy
"The
called appartement-semi-double
The most
The
W.
pillars, joining
of Cortona's project
The
The ground-plan
-Tn
1668).
that
for S. Pietro in
M. de Chantelou,
::
is
shown
filled
source
order.
and
vast.
Bemin en France
p. 91.
halls
Rome, 1967.
is
I, iii.
Palazzo di Montecitorio,
87
to the garden.
26.
p.
,7
See A. Roussy, Le Palais du Luxembourg, Paris, 1962. After the Revolution the palace became
De
assembly
hall
on the main
"The
axis. It
De
new garden
is
Chambord we
in
le
op.
cit., p.
Coun
d' Architecture
III, Paris,
1772.
198.
only a fragment of a
is
logis.
Blondel confirms that small orders should be used on walls that are seen from nearby, whi-
"J.F.
ments.
with
idea,
Brosse.
much
larger plan
"'Blunt characterizes
as "incorrect"
and "showing
the plastic unity of the whole"... (Art and Architecture in France, p. 134).
grander and more monumental version of the Palais du Luxembourg. See A. Blunt, Francois
his articulation
structural analysis of
is
one of the great innovators among the architects of the seventeenth century.
highly probable that the
"'It is
-'SeeJ. Stern,
Le Chateau de Maisons,
^The
ce,
Queen, Mile de
were offered
Vatel, they
liere,
new
well
is
la
his
mature
cit
ment of the
Valliere,
and wrote
later
supper prepared by
embezzlement:
for
his artists to
all
Mo-
in the audien-
his property
work
Three
his
Tn
"J
still
more.
He
obtained
rhythm of repeated
in the
Hotel du Jars
tal line.
In his few city-palaces, Hardouin-Mansart obviously could not realize the same ideal of exten-
sion.
The
basic intentions, however, are clearly present, as he tries to transform the building in-
Bourget/Cattaui: op.
"Thus Daviler
Paris, 1725-56.
les
op.
cit., p.
cit., p.
"Maison
a batir" (see
says that the orders are so praiseworthy because they are based "sur les raisons
plus vraysemblables de
197.
cit., p.
la
nature, sur
la
doctrine de Vitruve,
&
sur les
175.
cellens Edifices
w For
also
"Lavedan, op.
area
in Paris (1648).
4
style.
with decor by Lebrun and music by Lully. La Fontaine, Fouquet's poet, was
weeks
136.
cit., p.
"The project for the enveloppe stems from 1667 and was integrated in a larger scheme in 1669.
Le Vau died in 1670, and Francois d'Orbay probably played an important part in the develop-
Paris, 1934.
however, reached
history of Vaux-le-Vicomte
Guanni
yet,
inspira-
zi,
Paris, 1691,
de l'Antiquite." A.C. Daviler, Les cinq ordres d' Architecture de Vincent Scamoz-
new
edition 1720.
"H.Rose,
"In
his
op.
Coun
cit., p.
exemple,
s'il
178
la
CHAPTER FIVE
ff.
d' Architecture
symetrie et
y avoit sur
la
magnificence
la
in
les
Ecuries
& Re-
cier
when he enlarged
Form and
Culture,
de Bouillon (1613) by
poport, House
assume that the system of the courtyard stems from the original Hotel
De
Brosse, whereas the garden facade must have been designed by Lemer-
questo campo
New
is still
lacking. Already in
nuovi concetti e
il
hotel
in the
56
in his
rebuilt. It
is
also
still
shows
122).
a decorative old-fashioned
(see
G. Pillement,
in 1649. Stylistically
it
built
by Le Vau
after 1634,
thirties; the
Tambon-
neau.
"We
To our knowledge
Italy
in
le
nuove forme
in
XV-XVI,
1912-13).
the motif of the triple columns was never repeated again. In the abbey chur-
sting of
"The
puo
nineteenth century.
>R.
"It
"...egli
"The
New York,
York, 1969.
one
Wittkower. op.
'Portoghesi,
;
pilaster
cit.. p.
Roma
is
Barocca,
p.
86.
See E. Panofsky, "Die Scala Regia im Vatikan und die Kunstanschauungen Bernini's," Jahr-
in St.
Nicholas/Mala Strana in
Prague (1739).
find the
lions of
broken roof
at
Vaux-le-Vicomte, however, have steep roofs, which (together with the giant order) defi-
is
found
in his late
al
Corso
(1670-80).
211
"The
was
villa
is
known from
"For
"A
'-'Similar
XIV
Louis
Roman
imitates ancient
similar process
Roman and
the Medieval
Bay System,"
in
"The motif
is
P.
W. Horn, "The
16
Only
a small
cit.)
Rome
is
in
500- 1 700, p.
R.W.
-'Even the
cit., p.
its real
dimension, that
is,
know-
nothing.
New York,
1969.
The idea
ciso
"J.
Tome
circular space,
Bank
(1668), however,
is
monograph by
Roman
a giant
statt
was
of Fischer
be treated
in the next
Di/linger Baumeister
in
Harmondsworth, 1966,
p. 139.
To compare
this
in the
Age of Hu-
later,
when
the
Italy.
also
Mathey studied
in
Rome
*Martinelli
is
by
far the
in
Prague
in
death in 1695.
Italian architects
He
working
in
Central Europe
Rome
The
is
A U-shaped disposition
Bohemia (1652-84),
possibly by Francesco
Caratti.
towers, as well as the dome, were completed by Enrico Zuccalli, whereas the facade was
).
Summerson,
op.
cit., p.
89.
M The palace was continued by Zuccalli after 1674, and later by Viscardi and Effner.
Summerson,
op.
cit., p.
134.
"Towards
188
Murray,
after P.
pp.
cit., p.
cit., p.
193
new plane
articulate an
Summerson
hundred years
Summerson,
op.
cit., p.
is
entire
in 1952.
Rome, when he
133.
212
error
"The
The weakness
says:
"Das Leben
of a
scale.
tried to
much
smal-
sensitive,
in
all
jener Zeit
von einem
historische Gesamtbild
"This structure
created centralized
(i.e.,
be-
rational, the
is
also
London, 1962,
levels.
p. 167.
The development
may be compared
S7
In
kiinst-
davon
Dutch
"The
in
p. 5).
197.
of monumentality." Actually,
more
(1711-12).
ff.
conception of the
ler size.
Von Kamecke
Berlin for
>J
Harmondsworth, 1962,
ff
"J.
II,
to-
(1678) and
-"J.
"Quoted
in Eich-
(1614-28).
"The
buil-
this history.
Swedish troops.
volume of
"The Counter-Reformation
in
and making
do not
27
order of Le
in character.
148.
cit., I, fig.
Inigo Jones,
walls
The works
ned
(1721-32).
Summerson,
);
is
Josephson, op.
lari
41
churches from
216.
re-
while the secular works are based on French and Dutch models. In the
44
30.
is
Italy,
"These
A Blunt, op.
2>
cit.
"High Baroque" of
J,
who made
"Tessin visited
For the original appearance of the Bonde palace and other Swedish buildings of the period, see
Ba'at Palace in
Brosse.
London,
Stockholm, 1930-31.
"It is
-'"See
De
(1550).
Origins of
3 ft.
,s
Medi-
"classical"
already indicated by Lescot in the courtyard of the Louvre (1546) and fully deve-
Del'Ormein Anet
tailing of the
fact,
had already taken place during the Middle Ages, when the
already in 1567.
1958.
lacking.
Byzantine empires. In
loped by
is still
symbolism.
"The
several
prints.
to the
urban rond-point.
tecture
is
modern
archi-
due to Siegfried Giedion, Space, Time and Architecture, Cambridge, Mass., 1941.
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200;
Plate 308;
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Jesuits,
Innsbruck
Baudelaire, Charles, 60
teca
Plate
Leon
Andrea,
Novella, 68
16;
13;
S.
Alembert, Jean Le
Dond
Maria
S.
187
cor-
tile
Palazzo
Caetani
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(Mattei-Ne-
10
Andrew,
St.,
69
S.
Augsburg:
Town
309
Austerlitz
(Slavkov),
Villa
of
enzo
Baillieu (printmaker), Plate
57
174,
Petri
150,
Fide,
162,
148,
Plate
199,
Palazzo
Plates
Chigi-Ode-
150,
34
Plate
18-21;
Carlino),
Pietro,
Plates 122-131; S.
18,
20, 27,
70,
Plates
Andrea
al
Maria dell'As-
S.
197
Alessan-
Borghese,
187
Palazzo
S.
Andrea
delle
Quattro Fontane
97,
117,
98,
(S.
133,
Giovanni
in
Bourges,
house
Cceur, 156
of
Jacques-
Hall,
(Campidoglio,
Hill
31,
St. Charles, 13
Madonna
(S.
St.
Carlo
98
Cappella della SS. Sindone (Turin), 49, 129, 131, Plates 177-181
Cappella Lancellotti (S. Giovanni
in Laterano, Rome), 68, Plate 81
(S. Maria MagRome), 68, Plate 80
Cappella Paolina
giore,
Cappella Salviati
Celio,
(S.
Gregorio
al
Rome), 68
(S. Girolamo della
Rome), 177, Plates 270,
Cappella Spada
Carita,
271
Caprarola, S. Teresa, 80, 88, 97,
141, Plate 114
(Paris),
40
Caratti,
Francesco,
Czernin
pal-
St.
(Rome),
Rome),
Borromeo,
162,
Brosse,
231
chitecture,
160,
Carlo
Borghese family, 31
Nieuwe
150,
Agostino: Nymphenburg
Palace, 202; Theatine Church,
202, Plate 312
148,
Plates
147,
16,
202,
Plate 204; Palazzo di Montecito199,
Bastille (Paris),
Plate
(first project),
160,
199-201;
142,
Peter's),
(St.
Plates 199-201
Barelli,
Town
Blois,
Carlino), 98;
(S.
196;
195
Madonna
Nieuwe Kerk,
Plates 84-87; S.
194, 195;
Mauritshuis, 195, 198, Plate 301;
25-27,
Plates 82, 83
117,
314
Bernini, Gianlorenzo, 14, 17, 69,
70, 80, 97, 122, 166, 174, 177,
rio,
98,
Cap-
scalchi,
Re Magi,
Palazzo
Berlin:
193, Louvre
(in
della
d', 7
dei
pella
289
Alberti,
Alessandrina
Gervais, 184
170
Bruni, Leonardo, 7
Bruno, Giordano, 12
Bullant, Jean:
160
Chateau d'Ecouen,
ace,
200
"amHof',202,
Plate 311
202
Caroline Mausoleum (Stockholm),
199
Casa
215
Gian-
Don
Chambord, Chateau
I
166,
Chateau de
de, 160
198
Christian
statue of,
Charles
Emmanuel
I,
Charles
Emmanuel
II,
48
129
Plate 311
(Palazzo
del
Church of the
11
of
Jesuits
Charlotten-
196;
Church
200
Church
of the
Chateau de
gens Nytorv,
Kon-
198; Rosenborg,
Royal Palace,
Plate 304
200,
199,
Clagny
171, Plate 257
de
de
Church
Madonna
di
Cam-
Coulommiers,
160,
the
Padri
(Paris),
Somaschi
(Paris),
Chateau
Coleshill
Lafitte),
232-235,
162,
166,
(Maisons184, Plates
XX
Maria
Luca
Mar272
279
Du
gar-
moignon, 160
Du
Cerceau, Jacques
160; Chateau
Androuet,
du Verneuil, 160
Du
Church of the
Eichstatt,
Elizabeth
Jesuits,
De
De
Giacomo,
13,
74;
Palazzo
Serlupi
(Cre-
dei
Emmanuel
Philibert
(Duke
of
Conservatori,
19;
Erasmus, Desiderius, 7
Erlach, Johann Bernhard Fischer
von, see Fischer von Erlach,
Johann Bernhard
Escorial,
El (near Madrid),
187,
145,
Madonna
(Queen of England),
Carignano), 48
Rossi,
Della Porta,
188
S.
Maisons
S.
177;
Salomon de
Dome des
200
(Versail-
310
Jesuits,
Daviler, Augustin-Charles, 16
Church
Jesuits (Eichstatt),
pagna (Verona), 74
231
Church of the
gogne, 40
Dillingen,
(Dillin-
308
Church of the
200
18
the
7, 8, 10,
Feuillants (Paris), 40
Descartes, Rene,
Church
66-68
Colosseum (Rome), 19
40
Charleville, 19
216
Elvetico
Collegio
(King of France), 34
della
Villa
Copernicus, Nicolaus, 7
(King of Denmark),
198
Andrea
di
Propaganda Fide
(Rome), 156, Plates 215, 216
Collegio
198;
Copenhagen,
Chateau
(Accademia
Nobili
dei
Plate 123
les),
Collegio
194
162,
lorenzo
Charles
Raincy,
237
Plates 236,
les
Cathedra
Chateau du
Palazzo
Falda,
27,
Giovanni Battista,
196
Plates
147
Ferrerio, Pietro, Plate 194
hard, 152
Fleur-de-lis (Lyon),
196
132,
169;
Plate
(Vicenza),
132,
Lorenzo,
131,
182-188;
(Nizza),
Gaetano
S.
Plate
174;
141,
Plates
Maria
S.
S.
Altoet-
Maria
S.
275
Gaetano
176; S.
175,
Plate
denza,
Divina Provvi-
della
123,
129,
Plates
133,
164,
of the
dell'Universita,
Plate 197
II
Giedion Siegfried,
Granada,
S.
188, Plate
Maria Magdalena,
290
Grand Trianon
Plates
19, Plate 2
(Versailles),
172,
259-262
The:
Mauritshuis,
Hampton Court
Imma-
colata Concezione,
133, Plates
Palazzo
Carignano,
189,
190;
195,
Nieuwe Kerk,
(Windsor), 194
Jules,
39, 40,
186,
194,
Plates
99-102;
(Quartieri Militari), 53
309
Hotel Lambert
247-249
Hotel Lamoignon
(Paris),
Hotel Tambonneau
160
(Paris),
Hotel de Beauvais
Plates 281-283
170
(Paris),
Klementium
Prague), 200
Hotel de Bretonvillers
170
(Paris), 169,
Liancourt
(Bouillon,
de
Grand Trianon
100;
60,
Notre-Dame
(Versail-
Vendome,
40,
42-45;
Plates
39,
La
Palace,
III
(King of France), 32
Henrv IV (King
34
Herrera,
Juan
de,
188;
Cathe-
198;
Riddarhuset (House
La
Vallee,
Simon
Le Corbusier,
169
de, 198
16, 64,
68
la
Vrilliere
(Paris),
Hotel du Jars
(Paris),
76,
(Toulouse,
245
170, Plate
246
House
of Jacques-Cceur (Bourges),
160
71,
Plates
55,60,61,62
Immacolata Concezione (Turin),
1}}, Plates 189, 190
Innocent
(Pope), 20, 17
200
285
Jerusalem, 11
Plates 288,
Heidegger, Martin, 17
Bonde
198
Hospital, 194
Henry
(Paris),
198;
243
186,
Hotel de Sully
College,
(Jesuit
186,
Gesu,
Town
Bonaventura, 97
S.
Hobbes, Thomas, 7
Hardouin-Mansart,
17
Juan de
ace,
Hague,
St.,
Hotel
61,
Plates 66-68
George,
Villa Aldobrandini,
Palazzo
rial,
188,
XXII
217
Lambert,
170,
Hotel Tambonneau, 170; Hotel de Lionne,
170, 186, Plates 250, 251; Louvre plans, 148, 186
Hotel
279;
Plates 247-249;
Palace,
202,
Plate
Louis
XIV
Louvre
House
Lindsay
Fields,
(Lincoln's
Inn
London), 192
207-210; Bernini's
206,
project,
Le
186; Or-
148,
199;
Rome), Plate
135
London,
churches:
34;
19,
Cathedral,
Paul's
194, Plates
Paul's Church,
295-297;
St.
192;
Stephen
St.
194,
St.
298,
Plates
Garden,
Lindsay House
192;
Inn
(Lincoln's
Walbrook,
Covent
299;
Fields),
192;
House,
194;
Coleshill
House,
Eltham
Lodge,
194;
194;
Whitehall Palace, 192; Royal
Exchange, 192; Royal Hospital
(Chelsea), 194; Tower of London, 192
Longhena,
Baldassare,
74,
76;
Maria
della Salute,
74, 76,
Plates 95-97
265
Lurago,
Rocco:
Tursi, 146
Palazzo
Doria-
Luther, Martin, 7
Luxembourg,
du
Palais
(Paris), 16,
Huguenot
temples
of:
Terreaux, 196
Town
(Maisons184, Plates
232-235
Maisons-Lafitte, see Maisons, Chateau de
Church of the
Plates 90, 91;
Visitation,
70,
Sacramento,
98;
Palazzo
col-
Villa
Giacomo
76;
S.
cis'
Fran-
St.
Maurits
van
Nassau,
Johan
Rene
de, 162
house
of,
160
291
218
34
77;
Villa
Aldobrandini,
61,
Plates 66-68
Madonna
dei
di
Campagna
(near
(The
198, Plate 301
Mauritshuis
Hague),
195,
Verona), 74
Madrid,
Munich:
288
St.
Theatine
Church,
202,
Miinster, Schloss, 16
Neumann,
Balthasar, 170
196,
303
S.
169
Noorwits, Pieter: Nieuwe Kerk,
196, Plate 196
Chateau de
284
Nvmphenburg
Palace
(Munich),
202
194
Plate 74
Madonna
Notre-Dame
(Prince), 195
Longueil,
93, 94
di Vicoforte,
see
Mathey, Jean-Baptiste:
Mondovi, Santuario
68
dam), 196
Urrana,
Diego Martinez Ponce de
Diego,
Martinez,
Mascherino, Ottavio, 68
della Valle,
Andrea
194;
19
SS.
Plate
145,
Plate 312
144,
307;
Andrea, 13
S.
244, 250
Hall, 195
ter's, 64,
Martinelli
Maastricht,
de, 162
166,
162,
Lafitte),
umn
Madame
Chateau de
Maisons,
Mantua,
Lyon,
Maintenon,
first project,
Plates
313
Mayor,
289
19; S.
Old
St. Peter's
Oratorio
dei
(Rome), 175
Filippini
(Rome),
112, 113, 146, 152, Plates 133138; Loggia dei Cardinali, Plate
Mexico
135
Orbav, Francois
d',
186; Louvre,
Orleans, Gaston
152,
Piranesi,
Pamphili
214
Palazzo
d\ 160
274
Palazzo
de Justice (Rennes),
Plate
Palazzo
di
Propaganda
Fide
(Rome), 156; Cappella dei Re
Magi, 98, 117, Plates 153-158
(Dijon),
Etats
de
Bourgogne
Sapienza
(Rome),
34;
alia
152
Palazzo Savelli-Chigi (Ariccia), 69
40
gardens
della
229
des
Palais
162,
145
Pitti (Florence),
Palazzo
Palais
(Rome),
Plates 213,
(Paris),
151;
48
du Luxembourg
59
33
280, 281;
Marais,
148,
39,
Luxembourg,
16, 160,
167, 186, Plates 225-228; Tuileries, 39, 48, 53, 151, Plates 47,
Plates
(Paris), 16,
Louvre,
48; places:
Palais
palaces:
Dauphine,
35-37;
Etoile,
48;
Vendome
de
(Louis
Pantheon (Rome), 69
deH'Universita
(Genoa),
177
Plates 34,
Palazzo
195
Redentore, 76
156,
Carpegna (Rome),
Plate 212
152,
Palazzo
46;
Church
Church
Church
34;
churches
of the Capucines, 40
of the Feuillants,
of the Minimes,
40
185,
78,
76,
141,
186,
194,
97, Plates
Quatre
France),
hotels:
Bastille,
78,
79;
Nations
de
1 7;
Flaminio:
Acqua Paola
Porta,
Giacomo della,
Giacomo
Della
see
Porta,
Portoghesi, Paolo, 98
Post, Pieter, 194;
Town
Hall, 195
Maria
Altoetting,
College),
(Jesuit
Klementium
192;
191,
Plates
S.
141,
133,
200;
palaces:
200
enstein,
Roger,
Pratt,
House,
194
194;
194;
Clarendon
House,
Coleshill
Cham-
ber, 188
(Pope), 64
Paul, St., 17
Perelle (engraver),
Plates 37,
39,
286
Peruzzi, Baldassare,
13,
V
17;
Pal-
15;
Palazzo
Bor-
S.
Agnese, 21;
S.
Andrea
76; S.
Maria
S.
Plates 115-119
S.
114
Raphael, Palazzo Vidoni, 162
Pietro da
Church
151;
Pilar
148,
vre,
College des
(Institut
185, Plate
Montmartre
St. An-
Paul
Piazza Navona,
(Saragossa), 188
Redentore (Venice), 76
219
Plates 22,
Rennes,
Plate
de Justice,
Palais
162,
229
Rome,
179,
48,
19,
16,
Filippini,
112,
146, 152,
113,
Gesu,
13,27,31,62,68, 188,200,
Plates 5-7;
Madonna
dei Monti,
Andrea
al
84-87;
Plates
Andrea
S.
della
XII; S.
Andrea
Flaminia, 68; S.
Andrea
Anna
Via
in
dei Pala-
Carlo ai Catinari,
78, 97, Plates 103-105; S. Carlo
al Corso,
179, Plate 273; S.
Carlo alle Quattro Fontane (S.
frenieri, 68; S.
Giacomodegli
Incurabili, 68; S. Giovanni dei
Fiorentini, 78; S. Giovanni in
Plates 122-131; S.
Laterano,
159-163;
117,
19,
Plates
177,
Gregorio
al
al
Maria Mad-
S.
dalena,
Plate
120;
S.
60;
S.
Sette
90,
Dolori,
Plates 139-142;
S.
Mura,
(Stockholm),
200,
Andrea
Propaganda
196;
Pantheon,
162;
20,
26,
152,
Plate
185,
Maria
23, 24,
III;
Babuino,
del, 20; Capo le Case, 156
Corso, 30; Felice (Sistina), 10
Flaminia, 20, 68; Propaganda
Fide, 152, 156; Ripetta, 20
Vatican: Baldacchino (St. Pet
er's),
S.
175,
12,
Cathedra
266,
XXI
159,
160,
Petri
(St.
213, 214
S.
Andrea
S.
Andrea
delle
Fratte
(Rome),
S.
Andrea
S.
S.
Anna
S.
S.
131,
141,
Carlo
Carlo
ai
S.
S.
Madonna, 98,
S.
al
Monte
dei Cappuccini
58
S.
Maria
della
Divina Provvidenza
Neri
Plates 172, 173
Filippo
(Casale),
132,
S.
Maria
della
Gaetano
Maria
ta, Ariccia),
Plate
S.
Maria
Giacomo
degli
S.
Plate
174
S.
141,
175, 176
S.
131,
al
pella della
S.
Maria Altoetting,
XIV
S.
al
S.
273
Carlo
Marcello
Carlino,
Farnesina, 20,
10;
XV
(Turin),
S.
Plate
9,
Lorenzo
S.
142, 174
in
68
S.
villas:
alia
18,
Ivo
68
Peter's)
68
Palace, 27;
S.
streets:
Plate
17;
al
275
al
Gregorio
69;
Parioli-Pincio
Plates
94
S. Isidro
Fide,
Plate
146,
S.
S.
S.
(Crescenzi),
93,
Plates 182-188
Vidoni,
S.
S.
214;
S.
Andrea (Mantua), 13
213,
S.
Laterano (Rome),
159-163; Cap-
304
S.
Plates
Palace
Plate
in
Plates
pella Salviati,
S.
174;
145,
della
Mar-
Royal
117,
S.
314
Mattei,
17;
Maria
174,
103-105
Plate
Giovanni
19,
S.
simo,
S.
122,
Luca
Sac-
65;
272
113,
Paolo fuori
Plate
Plate
Maria
19; S. Susanna,
S.
Aste-Bona-
60,
143-152; S. Marcello
88,
palaces:
della
220
132-138;
Plates
Spada),
le
152,
Plates
Girolamo
S.
Carita (Cappella
dei
11,
10,
Plate 12;
II,
II;
Montalto,
Incurabili
(Rome), 68
S.
Maria
S.
in Publicolis
Susanna (Rome),
S.
174,
Plates
S.
Luca
SS.
Vincenzo
SS.
Eustache
St.
34
(Paris),
276
Gervais
St.
Sixtus
St.
SixtusV(Pope),
Paul's
XXII
Cathedral
(old,
London),
20
St. Paul's
10, 12,
19,20,31,
ace,
chino,
Plate
175,
XXI;
266,
200
299
Anne-la-Royale (Paris),
129, Plates 167, 168
Ste.
Saint-Germain-en-Lave,
duVal, 171
74,
Plate
Star
Town
Town
Town
59
Madonna
di
151;
48
Turin,
(the
Elder),
done),
133, Plates
cezione,
XVIII;
Filippo
S.
189,
190,
Neri,
133,
Lorenzo, 131,
XVII; S.
Monte dei Cappuccini,
182-188,
Plates
al
156,
Car217-221;
palaces:
177;
Plates
Stupinigi,
59;
Venaria Reale, 59; squares: CarUna, 49; Castello, 48, 49, 54,
53;
(Mon-
Plates 52-54,
Santuario
dovi),
68
di
Vicoforte
Rome
122,
ches:
gardens,
Nicodemus
Vatican, see
XI
48, 49, 53, 59,
19,
Tessin,
del
ignano,
Campagna, 74
Piazza
Scienze),
78, 97,
Giuseppe:
Popolo, 20
Valadier,
di,
(Paris), 68,
Plates 78, 79
Maria
Val-de-Grace
London, 192
of
Sangallo,
Sanmicheli, Michele:
(guidebook writer),
Filippo
Superga, Basilica
(Pope), 147
20
141,
188,
Urban VIII
288
Salvi, Nicola:
312
gardens
Strozzi, Nanni, 7
Chateau
188
309
215
St. Peter's
306, XXIII
Tower
Spinoza, Baruch, 7
194
Plate
(Pope),
St. Paul's
St.
IV
307
Pal-
148
St.
98,
Kamecke
Andreas:
Titi,
200
St.
(Kreuzherren Kirche),
St. Francis'
von:
Veneto, Plate
Schloss, 16
Schliiter,
Anastasio
ed
199;
er),
den,
Conrad
Johann
Schlaun,
Nicodemus
Tessin,
263, 264
VII;
Savoia (Sus-
74,
95-97;
Plates
76,
Verona Madonna
Versailles:
59,
150,
60,
Campagna, 74
di
Chateau
170,
171,
194,
Grand
Tria-
streets:
122;
S.
Gaetano, 132,
74
221
Vienna,
202,
16;
321; Graphische
Plates
Albertina,
Plate,
Sammlung
134,
133,
125,
144,
145,
212;
palaces:
Giacomo
68; S.
Villa
da,
13, 68;
II
Andrea,
Anna dei Palafrenieri, 68
5, 7; S.
Wren, Christopher,
ton Court,
194;
Plates 66-68,
Villa Farnesina
Zucalli,
Nymphenburg,
147
Villa Giulia
Villa of
Enrico:
(Rome)
Plates
Count Kovnic
9,
10
(Austerlitz),
202
Villa
Villa Sacchetti
272
Vincennes, Chateau de, 48
Philip:
Trippenhuis,
Monte
dei Cappuc-
SS. Trinita,
S.
Maria
al
70, Plate 88
16, 17
Giacomo
Albrecht
Eusebius von, 200
Wenzel
degli incurabili,
68
Vorarlberg, 200
Wallenstein,
8,
222
i
LIST
OF PHOTOGRAPHIC CREDITS
Balestrini.
The numbers
Florence:
Alinari,
80,
195, 203,
266, 275
Anelli, S., Electa Editrice, Milan:
13, 14, 17, 27, 57, 59, 65, 66,
237
Archivio
fotografico
Gallerie
223,224,250
Apostolica
Biblioteca
Rome:
15, 159,
289
189,219,220,221
J.
Guillot,
Richard,
J., Paris: 3
Monumentenzorg,
The Hague: 301, 303
Rijksdienst v.d.
Rome: 127,
Schmidt-Glassner,
147, 163,
Germany): 307
Bavaria Verlag, Gaut-
Germany): 312
H., Stuttgart:
231
Sheridan, R., London: 292, 293,
297, 299
Museen,
Kunstbiblio-
306
Paris:
Staatliche
18,
278
Keetman, J.,
ing (West
Keetman, P.
ing (West
Oslo:
270,271
Ch.,
33,74,81,300,304,313,1,111,
Savio, O.,
Bulloz, Paris: 11
Vaticana,
160,213,214
Birelli,
Staatliche SchJosser
Berlin:
und Garten,
314
223
11
Baroque Architecture
Ancient Architecture
Hans Wolfgang
AM
4
Miiller
&
Seton Lloyd
if
Baroque Architecture
Christian Norberg-Schulz
Byzantine Architecture
Cyril
Mango
Gothic Architecture
Louis Grodecki
Greek Architecture
Roland Martin
Islamic Architecture
John D. Hoag
Late Baroque and Rococo Architecture
Christian Norberg-Schulz
Modern
Architecture/
Modern
&
Francesco Dal
Co
Architecture/2
Francesco Dal
Co
Manfredo Tafuri
Manfredo Tafuri
&
of Classicism
new
bom
in
Rome
would dominate
and
in
an
Taking
impetus from the triumphant Counter-Reformation launched by the papacy in Rome, it spread
throughout Italy to France and major European capitals. Bernini and Borromini in Italy, he Notre and
Mansart in France, Wren and Jones in England provide magnificent examples of an architecture marked
artistic style that
the seventeenth
Mario Bussagli
pomp and
ornamentation, boldness of design, and preference for the curved over the straight line.
The chapters in this volume focus on the growth of urban centers and the evolution of churches and
by
Oriental Architecture/
India, Indonesia, Indochina
palaces,
Oriental Architecture/2
China, Korea, Japan
Mario Bussagli
Pre-Columbian Architecture of Mesoamerica
Paul
Gendrop
&
Doris
Heyden
Primitive Architecture
Enrico Guidoni
Renaissance Architecture
Peter Murray
Roman
Architecture
John Ward-Perkins
Romanesque Architecture
Hans Erich Kubach
ISBN: 0-S478-0693-6